Search Results

Creator:

Graham, Donald S.  Search this

Subject:

Kuhn, Walt  Search this

Kuhn, Brenda  Search this

Citation:

Donald S. Graham papers relating to Walt Kuhn, 1955-1991. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Collectors and collecting  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)6390

(DSI-AAA_SIRISBib)215355

AAA_collcode_grahdona

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_215355

Creator:

Kuhn, Walt, 1877-1949  Search this

Subject:

Association of American Painters and Sculptors (New York, N.Y.)  Search this

Armory Show (1913: New York, N.Y.)  Search this

Citation:

The story of the Armory Show / by Walt Kuhn, 1938. Archives of American Art, Smithsonian Institution.

Topic:

Art, Modern -- 20th century -- Exhibitions  Search this

Modernism (Art)  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)6416

(DSI-AAA_SIRISBib)215435

AAA_collcode_kuhnwals

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_215435

Creator:

Kennedy Galleries  Search this

Subject:

Fleischman, Martha  Search this

Kuhn, Walt  Search this

Citation:

Kennedy Galleries Miscellaneous records, 1864-circa 1983. Archives of American Art, Smithsonian Institution.

Theme:

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)13378

(DSI-AAA_SIRISBib)256173

AAA_collcode_fleimart

Theme:

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_256173

Creator:

Kuhn, Brenda, 1911-  Search this

Subject:

Kuhn, Walt  Search this

Citation:

Brenda Kuhn notes relating to Walt Kuhn, 1974-1985. Archives of American Art, Smithsonian Institution.

Topic:

Art, American  Search this

Folk artists  Search this

Women artists  Search this

Theme:

Women  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)13381

(DSI-AAA_SIRISBib)256493

AAA_collcode_kuhnbren2

Theme:

Women

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_256493

Creator:

Kuhn, Walt, 1877-1949  Search this

Subject:

Kent, Rockwell  Search this

Citation:

Creative art : a magazine of fine and applied art, 1927-1933. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Periodicals  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)21776

(DSI-AAA_SIRISBib)305529

AAA_collcode_kuhnwalt3

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_305529

Creator:

Kuhn, Walt, 1877-1949  Search this

Subject:

Cahill, Holger  Search this

Citation:

Space, 1930. Archives of American Art, Smithsonian Institution.

Topic:

Art, American -- Collectors and collecting  Search this

Art criticism  Search this

Art, Modern -- 20th century -- Periodicals  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)21778

(DSI-AAA_SIRISBib)305649

AAA_collcode_kuhnwalt2

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_305649

Creator:

Tanko, Boris de  Search this

Brodzky, Horace, 1885-1969  Search this

Subject:

Kuhn, Walt  Search this

Citation:

Rainbow, 1920. Archives of American Art, Smithsonian Institution.

Topic:

Literature, Modern -- 20th century -- Periodicals  Search this

Art, Modern -- 20th century -- Periodicals  Search this

Theme:

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)21832

(DSI-AAA_SIRISBib)305703

AAA_collcode_detabori

Theme:

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_305703

Interviewee:

Bouché, Louis, 1896-1969  Search this

Interviewer:

Woolfenden, William E., 1918-1995,  Search this

Subject:

Arensberg, Walter  Search this

Duchamp, Marcel  Search this

Gaylor, Wood  Search this

Gleizes, Albert  Search this

Kuhn, Walt  Search this

Pascin, Jules  Search this

Quinn, John  Search this

Freytag-Loringhoven, Elsa von  Search this

Penguin Club (New York, N.Y.)  Search this

Wanamaker Gallery of Modern Decorative Art  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Louis Bouché, 1963 March 13. Archives of American Art, Smithsonian Institution.

Topic:

Painters -- New York (State) -- New York -- Interviews  Search this

Record number:

(DSI-AAA_CollID)13344

(DSI-AAA_SIRISBib)212072

AAA_collcode_bouch63

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212072

Interviewee:

Halpert, Edith Gregor, 1900-1970  Search this

Interviewer:

Phillips, Harlan B., 1920-1979,  Search this

Subject:

Bacon, Peggy  Search this

Barr, Alfred H., Jr.  Search this

Barrie, Erwin S.  Search this

Benton, Thomas Hart  Search this

Brackman, Robert  Search this

Bridgman, George Brant  Search this

Brixey, Richard de Wolfe  Search this

Cahill, Holger  Search this

Calder, Alexander  Search this

Cary, Elisabeth Luther  Search this

Chase, William Merritt  Search this

Coleman, Glenn O.  Search this

Crowninshield, Frank  Search this

Daniel, Charles  Search this

Davis, Stuart  Search this

Demuth, Charles  Search this

Deskey, Donald  Search this

Dove, Arthur Garfield  Search this

Dudensing, F. Valentine  Search this

Fergusson, John Duncan  Search this

Field, Hamilton Easter  Search this

Force, Juliana  Search this

Ford, Ford Madox  Search this

Frost, Robert  Search this

Fuller, R. Buckminster (Richard Buckminster)  Search this

Goodyear, A. Conger (Anson Conger)  Search this

Greenberg, Clement  Search this

Halpert, Samuel  Search this

Hartley, Marsden  Search this

Hirsch, Stefan  Search this

Hopkinson, Charles  Search this

Hopper, Edward  Search this

Johns, Jasper  Search this

Kline, Franz  Search this

Knox, Seymour H.  Search this

Kroll, Leon  Search this

Kuhn, Walt  Search this

Kuniyoshi, Yasuo  Search this

Laurent, Robert  Search this

Lawrence, Jacob  Search this

Léger, Fernand  Search this

Levine, Jack  Search this

Levy, Julien  Search this

Locke, Charles  Search this

Luks, George Benjamin  Search this

Marin, John, Jr.  Search this

McBride, Henry  Search this

Mellon, Paul  Search this

Mercer, Henry Chapman  Search this

Montross, N. E. (Newman E)  Search this

Noguchi, Isamu  Search this

O'Keeffe, Georgia  Search this

Pascin, Jules  Search this

Picasso, Pablo  Search this

Pollock, Jackson  Search this

Pound, Ezra  Search this

Rivera, Diego  Search this

Rockefeller, Abby Aldrich  Search this

Robinson, Edward G.  Search this

Saarinen, Aline B. (Aline Bernstein)  Search this

Saklatwalla, Beram K.  Search this

Sandburg, Carl  Search this

Shahn, Ben  Search this

Sheeler, Charles  Search this

Siporin, Mitchell  Search this

Soutine, Chaim  Search this

Steichen, Edward  Search this

Stein, Gertrude  Search this

Stella, Frank  Search this

Stern, Louis E.  Search this

Stieglitz, Alfred  Search this

Tannahill, Robert Hudson  Search this

Vollard, Ambroise  Search this

Weber, Max  Search this

Wittenberg, Philip  Search this

Whitney, Gertrude Vanderbilt  Search this

Williams, William Carlos  Search this

Zerbe, Karl  Search this

Zorach, William  Search this

Zorach, Marguerite  Search this

C.W. Kraushaar Art Galleries  Search this

Daniel Gallery  Search this

Downtown Gallery (New York, N.Y.)  Search this

Ferargil Galleries  Search this

Grand Central Art Galleries  Search this

M. Knoedler & Co.  Search this

Montross Gallery  Search this

New Gallery (New York, N.Y.)  Search this

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Edith Gregor Halpert, 1962-1963. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Economic aspects  Search this

Camouflage  Search this

Folk art -- Collectors and collecting  Search this

Women art dealers  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

Creator:

Navas, Elizabeth S., 1885-1979  Search this

Names:

Wichita Art Museum  Search this

Bacon, Peggy, 1895-1987  Search this

Bouché, Louis, 1896-1969  Search this

Brice, William, 1921-2008  Search this

Burchfield, Charles Ephraim, 1893-1967  Search this

Burlin, Paul, 1886-1969  Search this

Callahan, Kenneth, 1905-1986  Search this

Copley, John Singleton, 1738-1815  Search this

Cowles, Russell, 1887-1979  Search this

Curry, John Steuart, 1897-1946  Search this

Davis, Stuart, 1892-1964  Search this

De Creeft, José, 1884-1982  Search this

Dehn, Adolf, 1895-1968  Search this

Dehner, Walt, 1898-  Search this

Demuth, Charles, 1883-1935  Search this

Dove, Arthur Garfield, 1880-1946  Search this

Eakins, Thomas, 1844-1916  Search this

Glackens, William J., 1870-1938  Search this

Gleitsmann, Raphael, 1910-  Search this

Grosz, George, 1893-1959  Search this

Heliker, John, 1909-2000  Search this

Homer, Winslow, 1836-1910  Search this

Hopper, Edward, 1882-1967  Search this

James, Alexander, 1890-1946  Search this

Kinigstein, Jonah, 1923-  Search this

Kirsch, Frederick D. (Frederick Dwight), b. 1899  Search this

Kuhn, Walt, 1877-1949  Search this

Kuniyoshi, Yasuo, 1889-1953  Search this

Lachaise, Gaston, 1882-1935  Search this

Lechay, James  Search this

Marin, John, 1870-1953  Search this

Marsh, Reginald, 1898-1954  Search this

Mattson, Henry E. (Henry Elis), 1887-1971  Search this

Morris, Carl, 1911-1993  Search this

Morris, George L. K., 1905-1975  Search this

Moyer, Roy, 1921-2007  Search this

Murdock, Louise Caldwell, 1858-1915  Search this

Murdock, Roland P. -- Art collections  Search this

Oscar, Charles, 1923-  Search this

Penney, James, 1910-1982  Search this

Poor, Anne, 1918-  Search this

Poor, Henry Varnum, 1887-1970  Search this

Pène Du Bois, Guy, 1884-1958  Search this

Ryder, Albert Pinkham, 1847-1917  Search this

Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this

Shahn, Ben, 1898-1969  Search this

Sheeler, Charles, 1883-1965  Search this

Sloan, John, 1871-1951  Search this

Smith, Houghton Cranford, 1887-1983  Search this

Sparhawk-Jones, Elizabeth, 1885-1968  Search this

Watkins, Franklin Chenault, 1894-1972  Search this

Weber, Max, 1881-1961  Search this

Williamson, Clara McDonald, 1875-1976  Search this

Zerbe, Karl, 1903-1972  Search this

Zorach, William, 1887-1966  Search this

Extent:

0.4 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1939-1963

Scope and Contents:

Correspondence, photographs, clippings, magazines and statements by 20th century artists on their works bought for the Roland P. Murdock Collection of the Wichita Art Museum, Wichita, Kansas, by Navas.

Artists represented include: Peggy Bacon, Louis Bouche, William Brice, Charles E. Burchfield, Paul Burlin, Kenneth Callahan, John S. Copley, Russell Cowles, John S. Curry, Stuart Davis, Jose de Creeft, Adolf Dehn, Walt Dehner, Charles Demuth, Arthur Dove, Guy Pène du Bois, Thomas Eakins, William Glackens, Raphael Gleitsmann, George Grosz, John E. Heliker, Winslow Homer, Edward Hopper, Alexander R. James, Jonah Kinigstein, Frederick D. Kirsch, Walt Kuhn, Yasuo Kuniyoshi, Gaston Lachaise, James Lechay, John Marin, Reginald Marsh, Henry E. Mattson, Carl Morris, George L. K. Morris, Roy Moyer, Charles Oscar, James Penney, Anne Poor, Henry V. Poor, Albert Pinkham Ryder, Henry E. Schnakenberg, Ben Shahn, Charles Sheeler, John Sloan, Houghton C. Smith, Elizabeth Sparhawk-Jones, Franklin C. Watkins, Max Weber, Clara M. Williamson, Karl Zerbe, and William Zorach.

Biographical / Historical:

Elizabeth S. Navas (1885-1979) was an art collector and patron in New York City. Navas was designated to assemble the Roland P. Murdock Collection of the Wichita Art Museum under the terms of the will of her friend, Louise Caldwell Murdock (1858-1915), widow of Roland P. Murdock.

Provenance:

Donated 1963 by Elizabeth S. Navas.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.

Occupation:

Artists -- United States  Search this

Art patrons  Search this

Painters  Search this

Topic:

Art, American -- Kansas -- Witchita  Search this

Art -- Collectors and collecting  Search this

Identifier:

AAA.navaeliz

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d7b37ccc-d6cd-4695-8168-4eb31cb7b6a9

EDAN-URL:

ead_collection:sova-aaa-navaeliz

Interviewee:

Bouché, Louis, 1896-1969  Search this

Interviewer:

Woolfenden, William E. (William Edward), 1918-1995  Search this

Names:

Penguin Club (New York, N.Y.)  Search this

Wanamaker Gallery of Modern Decorative Art  Search this

Arensberg, Walter, 1878-1954  Search this

Duchamp, Marcel, 1887-1968  Search this

Freytag-Loringhoven, Elsa von, 1874-1927  Search this

Gaylor, Wood, 1883-1957  Search this

Gleizes, Albert, 1881-1953  Search this

Kuhn, Walt, 1877-1949  Search this

Pascin, Jules, 1885-1930  Search this

Quinn, John, 1870-1924  Search this

Extent:

53 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1963 March 13

Scope and Contents:

An interview of Louis Bouché conducted on 1963 March 13, by William E. Woolfenden, for the Archives of American Art.

Bouché speaks of the Penguin Club, including Walt Kuhn's leadership, artists' balls, banquets and sketch classes; European artists at the Penguin Club including Jules Pascin, Albert Gleizes, and others; his association with the Daniel Gallery; his "lace curtain period"; his art education; teaching; working at Wanamaker's and the Folsom Gallery; Walter Arensberg's parties; and his father, Henri's career as a designer. Bouché recalls Marcel Duchamp, Samuel Wood Gaylor, Elsa von Freytag-Loringhoven, John Quinn, and others.

Biographical / Historical:

Louis Bouché (1896-1969) was a painter and teacher from New York, New York.

General:

Originally recorded on 2 sound tape reel. Reformatted in 2010 as 2 digital wav file. Duration is 2 hr., 2 min.

Provenance:

This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.

Topic:

Painters -- New York (State) -- New York -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.bouch63

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9180890be-43c3-4fc3-9666-6c02deb567d9

EDAN-URL:

ead_collection:sova-aaa-bouch63

Creator:

Maynard Walker Gallery  Search this

Names:

Benton, Thomas Hart, 1889-1975  Search this

Curry, John Steuart, 1897-1946  Search this

Cushing, Lily Emmet, 1909-1969  Search this

Henri, Robert, 1865-1929  Search this

Kuhn, Walt, 1877-1949  Search this

Extent:

6.3 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Date:

1923-1975

Summary:

The records of New York City's Maynard Walker Gallery measure 6.3 linear feet and date from 1923 to 1975. The collection comprises personal and professional correspondence; artist's files for Thomas Hart Benton, John Chumley, John Steuart Curry, Lily Cushing, Madeline Hewes, Walt Kuhn, Wayne Williams, Grant Wood, and others; exhibition and gallery files consisting of printed materials, exhibition scrapbooks, a file on Spanish painting, and files for the exhibition Other Worlds (1945); financial and sales records containing files for artist accounts, non-artist accounts, bills of sale, and inventory; and photographic materials for exhibitions, works of art, and the writer Henry James.

Scope and Contents:

The records of New York City's Maynard Walker Gallery measure 6.3 linear feet and date from 1923 to 1975. The collection comprises personal and professional correspondence; artist's files for Thomas Hart Benton, John Chumley, John Steuart Curry, Lily Cushing, Madeline Hewes, Walt Kuhn, Wayne Williams, Grant Wood, and others; exhibition and gallery files consisting of printed materials, exhibition scrapbooks, a file on Spanish painting, and files for the exhibition Other Worlds (1945); financial and sales records containing files for artist accounts, non-artist accounts, bills of sale, and inventory; and photographic materials for exhibitions, works of art, and the writer Henry James.

Arrangement:

The collection is arranged as five series.

Series 1: Correspondence, 1929-1975 (1.5 linear feet; Boxes 1-2)

Series 2: Artist's Files, 1927-1972 (2.8 linear feet; Boxes 2-5, 7)

Series 3: Exhibition and Gallery Files, 1928-1970 (0.7 linear feet; Boxes 5, 7)

Series 4: Financial and Sales Records, 1923-1967 (0.8 linear feet; Boxes 5-6)

Series 5: Photographic Materials, circa 1950s-1960s (0.5 linear feet; Box 6)

Biographical / Historical:

The Maynard Walker Gallery was an art gallery in New York, New York, founded by Maynard Walker in 1935. Walker previously worked for the Ferargil Gallery in New York where he began his professional relationship with the artists John Steuart Curry, Thomas Hart Benton, and Grant Wood. In 1938, Walker opened another gallery in Hollywood, California. Walker was a primary promoter of the Regionalists during the 1930s and 1940s. Walker retired in 1967 and died in 1985.

Provenance:

The Maynard Walker Gallery records were donated from 1974 to 1980 by Maynard Walker and in 1973 by the Frick Library on behalf of Maynard Walker. A portion of the collection was lent for microfilming and subsequently donated in 1976 by Maynard Walker.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Regionalist (American Scene)  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Scrapbooks

Citation:

Maynard Walker Gallery records, 1923-1975. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Women's Committee.

Identifier:

AAA.maynwalk

See more items in:

Maynard Walker Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b5602198-626d-45a0-8cdc-14a8c89e5db8

EDAN-URL:

ead_collection:sova-aaa-maynwalk

Creator:

Kuhn, Walt, 1877-1949  Search this

Names:

Armory Show (1913: New York, N.Y.)  Search this

Association of American Painters and Sculptors (New York, N.Y.)  Search this

Kit Kat Club (New York, N.Y.)  Search this

Penguin Club (New York, N.Y.)  Search this

Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this

Kuhn, Brenda, 1911-  Search this

Kuhn, Vera, d. 1961  Search this

Oldfield, Otis, 1890-1969  Search this

Pach, Walter, 1883-1958  Search this

Quinn, John, 1870-1924  Search this

Sheeler, Charles, 1883-1965  Search this

Photographer:

Rainford, Percy  Search this

Weston, Edward, 1886-1958  Search this

Extent:

31 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Diaries

Scrapbooks

Sound recordings

Date:

1859-1984

bulk 1900-1949

Summary:

The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.

Scope and Contents note:

The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.

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

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

Arrangement:

This collection has been arranged into 4 series, with multiple subseries in Series 1 and 4.

Missing Title

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

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

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

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

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

Existing envelopes are filed in front of correspondence and enclosures directly after. Correspondence in the Armory Show Records and AAPS Records is arranged alphabetically, and correspondents are listed in the box inventory following series descriptions below.

Biographical/Historical note:

Walt Kuhn (1877-1949) was an etcher, lithographer, and watercolorist, as well as being a teacher, an advisor to art collectors, an organizer, and a promoter of modern art. He played a key role in the art scene of New York City in the early 20th century, and was among the small group that organized the infamous Armory Show of 1913, officially known as the International Exhibition of Modern Art, held at the 69th Regiment Armory building in New York City. After the Armory Show, Kuhn went on to a distinguished career as a painter. He was best known for his sober oil portraits of show people, clowns, acrobats, and circus performers, but was equally prolific in landscapes, still lifes, and figure and genre drawings.

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

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

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

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

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

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

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

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

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

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

Sources consulted for this biography include The Story of the Armory Show (1988) by Milton W. Brown, Walt Kuhn, Painter: His Life and Work (1978) by Philip Rhys Adams, and "Walt Kuhn" by Frank Getlein, in the 1967 catalog of the Kennedy Galleries, Inc.

Related Archival Materials note:

The Archives of American Art holds the papers of Walter Pach, the European representative of the Armory Show.

Provenance:

The Walt Kuhn Family papers and Armory Show records were loaned for microfilming and later donated to the Archives of American Art by Walt Kuhn's daughter Brenda Kuhn in several installments between 1962 and 1979. An additional accession of letters, photographs, and an artifact was purchased by the Archives in 2000. Another addition was donated by Terry DeLapp, Kuhn's dealer, in 2015.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Etchers -- New York (State) -- New York  Search this

Watercolorists -- New York (State) -- New York  Search this

Lithographers -- New York (State) -- New York  Search this

Topic:

New York school of art  Search this

Modernism (Art)  Search this

Function:

Arts organizations -- New York (State)

Genre/Form:

Drawings

Diaries

Scrapbooks

Sound recordings

Citation:

Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Getty Foundation and the Terra Foundation for American Art.

Identifier:

AAA.kuhnwalt

See more items in:

Walt Kuhn Family papers and Armory Show records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99ee222af-4da2-4011-b910-9e0933a5f81e

EDAN-URL:

ead_collection:sova-aaa-kuhnwalt

Interviewee:

Halpert, Edith Gregor, 1900-1970  Search this

Interviewer:

Phillips, Harlan B. (Harlan Buddington), 1920-1979  Search this

Names:

C.W. Kraushaar Art Galleries  Search this

Daniel Gallery  Search this

Downtown Gallery (New York, N.Y.)  Search this

Ferargil Galleries  Search this

Grand Central Art Galleries  Search this

M. Knoedler & Co.  Search this

Montross Gallery  Search this

New Gallery (New York, N.Y.)  Search this

Bacon, Peggy, 1895-1987  Search this

Barr, Alfred H., Jr., 1902-1981  Search this

Barrie, Erwin S., 1886-1983  Search this

Benton, Thomas Hart, 1889-1975  Search this

Brackman, Robert, 1898-  Search this

Bridgman, George Brant, 1864-1943  Search this

Brixey, Richard de Wolfe  Search this

Cahill, Holger, 1887-1960  Search this

Calder, Alexander, 1898-1976  Search this

Cary, Elisabeth Luther, 1867-1936  Search this

Chase, William Merritt, 1849-1916  Search this

Coleman, Glenn O., 1887-1932  Search this

Crowninshield, Frank, 1872-1947  Search this

Daniel, Charles, 1878-1971  Search this

Davis, Stuart, 1892-1964  Search this

Demuth, Charles, 1883-1935  Search this

Deskey, Donald, 1894-  Search this

Dove, Arthur Garfield, 1880-1946  Search this

Dudensing, F. Valentine, 1892-1967  Search this

Fergusson, John Duncan, 1874-1961  Search this

Field, Hamilton Easter  Search this

Force, Juliana, 1876-1948  Search this

Ford, Ford Madox, 1873-1939  Search this

Frost, Robert, 1874-1963  Search this

Fuller, R. Buckminster (Richard Buckminster), 1895-1983  Search this

Goodyear, A. Conger (Anson Conger), 1877-1964  Search this

Greenberg, Clement, 1909-1994  Search this

Halpert, Samuel, 1884-1930  Search this

Hartley, Marsden, 1877-1943  Search this

Hirsch, Stefan, 1899-1964  Search this

Hopkinson, Charles, 1869-1962  Search this

Hopper, Edward, 1882-1967  Search this

Johns, Jasper, 1930-  Search this

Kline, Franz, 1910-1962  Search this

Knox, Seymour H., 1898-1990  Search this

Kroll, Leon, 1884-1974  Search this

Kuhn, Walt, 1877-1949  Search this

Kuniyoshi, Yasuo, 1889-1953  Search this

Laurent, Robert, 1890-1970  Search this

Lawrence, Jacob, 1917-2000  Search this

Levine, Jack, 1915-2010  Search this

Levy, Julien  Search this

Locke, Charles, 1899-  Search this

Luks, George Benjamin, 1867-1933  Search this

Léger, Fernand, 1881-1955  Search this

Marin, John, Jr., 1915?-1988  Search this

McBride, Henry, 1867-1962  Search this

Mellon, Paul  Search this

Mercer, Henry Chapman  Search this

Montross, N. E. (Newman E), 1849-1932  Search this

Noguchi, Isamu, 1904-1988  Search this

O'Keeffe, Georgia, 1887-1986  Search this

Pascin, Jules, 1885-1930  Search this

Picasso, Pablo, 1881-1973  Search this

Pollock, Jackson, 1912-1956  Search this

Pound, Ezra, 1885-1972  Search this

Rivera, Diego, 1886-1957  Search this

Robinson, Edward G., 1893-1973  Search this

Rockefeller, Abby Aldrich  Search this

Saarinen, Aline B. (Aline Bernstein), 1914-1972  Search this

Saklatwalla, Beram K.  Search this

Sandburg, Carl, 1878-1967  Search this

Shahn, Ben, 1898-1969  Search this

Sheeler, Charles, 1883-1965  Search this

Siporin, Mitchell, 1910-1976  Search this

Soutine, Chaim, 1893-1943  Search this

Steichen, Edward, 1879-1973  Search this

Stein, Gertrude, 1874-1946  Search this

Stella, Frank  Search this

Stern, Louis E., 1886-1962  Search this

Stieglitz, Alfred, 1864-1946  Search this

Tannahill, Robert Hudson  Search this

Vollard, Ambroise, 1867-1939  Search this

Weber, Max, 1881-1961  Search this

Whitney, Gertrude Vanderbilt, 1875-1942  Search this

Williams, William Carlos, 1883-1963  Search this

Wittenberg, Philip, 1895-1987  Search this

Zerbe, Karl, 1903-1972  Search this

Zorach, Marguerite, 1887-1968  Search this

Zorach, William, 1887-1966  Search this

Extent:

436 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Date:

1962-1963

Scope and Contents:

An interview of Edith Halpert conducted 1962-1963, by Harlan Phillips, for the Archives of American Art.

Halpert speaks of her childhood in Russia and growing up in New York City; working at Bloomindale's, Macy's, Stern Brothers, and Cohen Goldman; her marriage to artist Sam Halpert, his health, and living in Paris in 1925; becoming an art student at the Academy of Design and feeling that Leon Kroll was an excellent art teacher until he began to correct her drawings; when George Bridgman thought she was ruining his class; the Lincoln Square Arcade, when she and Ernest Fiener and Robert Brackman would rent Conan's studio evenings and bring in instructors; how Newman Montross influenced her more than anybody about showing her art that she loved; burning all of her work because Kroll said she had no talent; receiving a painting from John Marin; her friendship and working relationship with Abby Rockefeller and other family members.

She recalls opening the Downtown Gallery, in Greenwich Village, in 1926; a brief history of modern art; many artists helping decorate the new Daylight Gallery in 1930 and the first show being called "Practical Manifestations of Art"; meeting Robert and Sonia Delaunay in France; when she refused to allow Ezra Pound to speak at one of the gallery lectures because of his anti-Semite remarks and William Carlos Williams and Ford Madox Ford argued with her over it; experiencing jealousy and professional attacks from other dealers; the successful "Pop" Hart show and book in 1929; the "Thirty-three Moderns" show in 1930 at the Grand Central Galleries; the Jules Pascin show in 1930; in America, most of the art buyers supporters of culture were women, until the WPA and World War II, when it became fashionable for men to be involved; Ambroise Vollard's advice on selling art; handling the frustrations of working in the art field; friendships with Stuart Davis,Charles Sheeler, and Ben Shahn; how artists work through dry periods in their creativity and the "Recurrent Image" show; a discussion on modern art galleries of New York City, such as Daniel, Knoedler, Ferargil, the New Gallery, 291, the Grand Central, Kraushaar, and Montross; her travels through Pennsylvania and Maine for good examples of folk art for the gallery; the "The Artist Looks at Music" show; the non-competitive spirit of the early modern American artists; of being saved financially in 1940 by selling a William Harnett painting to the Boston Museum and then renting new space for the gallery.

Also, Mitchell Siporin bringing Halpert and Edmund Gurry to Mitchell Field during World War II for a camouflage show and consequently Downtown Gallery artists and others were enlisted in the camouflage corps for the U.S. Air Force; Charles Sheeler and his wife find Halpert a house in Newtown, Conn.; her decision in 1933 to push folk art for acquisition by the William Rockhill Nelson Gallery in Kansas City, Missouri; her great concern about what to do with her folk art literature collection; dismay and that no one writes about the history of folk art and those responsible for its creation and popularity; Louis Stern hiring her to organize a municipal exhibit in Atlantic City, N.J., with Donald Deskey designing the furniture and Holger Cahill managing the publicity; Joe Lillie helping her meet Fiorello La Guardia and Joe McGoldrick in 1934 about a municipal show in New York City, but it is moved to Radio City Music Hall through Nelson Rockefeller; the "Salons of America" show; wanting articles written about art for love rather than art for investment; working with Aline Saarinen on her book, "Proud Possessors;" letters from Stuart Davis, William Zorach and others that hurt her feelings; enjoying giving educational lectures and considering retirement because of ill health; the desire to write a book on the history of trade signs in folk art; feeling that the young artists are being ruined by too much support without working for it; planning to write a book entitled, "Unsung Heroes," about artists brave enough to experiment; organizing a show in Russia at her own expense; later representing the U.S. in art at the "American National Exposition"; the agitators and success of the exposition; Alfred Stieglitz and Georgia O'Keeffe.

Halpert also recalls Juliana Force, Gertrude Vanderbilt Whitney, Yasuo Kuniyoshi, Buckminster Fuller, George Luks, Edsel Ford, Max Weber, Danny Diefenbacker, Hamilton Easter Field, Frank Stella, Glenn Coleman, Margaret Zorach, Diego Rivera, Frida Kahlo, Henry Mercer, Romany Marie, Edward G. Robinson, Paul Mellon, Charles Pollet, Alex Brook, Lunca Curass, Dorothy Lambert, Duncan Candler, Frank Rhen, Louis Rittman, Bea Goldsmith, Arthur Craven, Robert Frost, Philip Wittenberg, Caesar de Hoke, Richard deWolfe Brixey, Seymour Knox, Walt Kuhn, Elisabeth Luther Cary, Charles Locke, Duncan Fergusson, Mrs. Solomon Guggenheim, Bob Tannahill, David Thompson, Marsden Hartley, Erwin Barrie, Robert Laurent, Conger Goodyear, Henry McBride, Edward Hopper, Charles Daniel, William Merritt Chase, Charles Hopkinson, Thomas Hart Benton, Frank Crowninshield, Alfred Barr, Lord Duveen, Jacob Lawrence, John Marin Jr., Karl Zerbe, Franz Kline, Arthur Dove, Julian Levy, Jack Levine, Valentine Dudensing, Peggy Bacon, Stefan Hirsch, Gertrude Stein, Isamu Noguchi, Jasper Johns, Chaim Soutine, B. K. Saklatwalla; Fernand Leger, Pablo Picasso, Ben Shahn, Charles Demuth, Alexander Calder, Jackson Pollock, Edward Steichen, Carl Sandburg, Clement Greenberg, and others.

Biographical / Historical:

Edith Halpert (1900-1970) was an art dealer from New York, N.Y.

General:

Originally recorded on 7 tape reels. Reformatted in 2010 as 27 digital wav files. Duration is 32 hrs., 27 min.

Provenance:

This interview is part of the Archives of American Art History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others. The transcript was microfilmed in 1996.

Occupation:

Art dealers -- New York (State) -- New York  Search this

Topic:

Art -- Economic aspects  Search this

Camouflage  Search this

Folk art -- Collectors and collecting  Search this

Women art dealers  Search this

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.halper62

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94b057b9a-c3f9-4586-8d44-ee2d58857127

EDAN-URL:

ead_collection:sova-aaa-halper62

Creator:

Whitney Museum of American Art  Search this

Names:

Whitney Studio Club  Search this

Whitney Studio Galleries  Search this

Baziotes, William, 1912-1963  Search this

Bellows, George, 1882-1925  Search this

Benton, Thomas Hart, 1889-1975  Search this

Bloom, Hyman, 1913-  Search this

Burchfield, Charles Ephraim, 1893-1967  Search this

Burlin, Paul, 1886-1969  Search this

Cadmus, Paul, 1904-1999  Search this

Cassatt, Mary, 1844-1926  Search this

Curry, John Steuart, 1897-1946  Search this

Davis, Stuart, 1892-1964  Search this

De Creeft, José, 1884-1982  Search this

Dickinson, Edwin Walter, 1891-1978  Search this

Eilshemius, Louis M. (Louis Michel), 1864-1941  Search this

Evergood, Philip, 1901-1973  Search this

Feininger, Lyonel, 1871-1956  Search this

Gatch, Lee, 1902-1968  Search this

Glackens, William J., 1870-1938  Search this

Gorky, Arshile, 1904-1948  Search this

Graves, Morris, 1910-2001  Search this

Gross, Chaim, 1904-1991  Search this

Grosz, George, 1893-1959  Search this

Harnett, William Michael, 1848-1892  Search this

Hartley, Marsden, 1877-1943  Search this

Henri, Robert, 1865-1929  Search this

Hofmann, Hans, 1880-1966  Search this

Hopper, Edward, 1882-1967  Search this

Inness, George, 1825-1894  Search this

Karfiol, Bernard, 1886-1952  Search this

Kuhn, Walt, 1877-1949  Search this

Kuniyoshi, Yasuo, 1889-1953  Search this

Lachaise, Gaston, 1882-1935  Search this

Lawson, Ernest, 1873-1939  Search this

MacIver, Loren, 1909-1998  Search this

Marin, John, 1870-1953  Search this

Marsh, Reginald, 1898-1954  Search this

Motherwell, Robert  Search this

Mount, William Sidney, 1807-1868  Search this

Nevelson, Louise, 1899-1988  Search this

O'Keeffe, Georgia, 1887-1986  Search this

Pereira, I. Rice (Irene Rice), 1902-1971  Search this

Pollock, Jackson, 1912-1956  Search this

Prendergast, Maurice Brazil, 1858-1924  Search this

Pène Du Bois, Guy, 1884-1958  Search this

Reder, Bernard, 1897-1963  Search this

Rimmer, William, 1816-1879  Search this

Rivers, Larry, 1925-2002  Search this

Rothko, Mark, 1903-1970  Search this

Ryder, Albert Pinkham, 1847-1917  Search this

Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this

Sheeler, Charles, 1883-1965  Search this

Sloan, John, 1871-1951  Search this

Smith, David, 1906-1965  Search this

Stella, Joseph, 1877-1946  Search this

Tobey, Mark  Search this

Twachtman, John Henry, 1853-1902  Search this

Tworkov, Jack  Search this

Walkowitz, Abraham, 1880-1965  Search this

Weber, Max, 1881-1961  Search this

Wyant, A. H. (Alexander Helwig), 1836-1892  Search this

Young, Mahonri Mackintosh, 1877-1957  Search this

Zorach, William, 1887-1966  Search this

Extent:

78 Microfilm reels

Type:

Collection descriptions

Archival materials

Microfilm reels

Date:

1914-1966

Scope and Contents:

REELS N591-N597: Photographs of the Museum, Juliana Force, Herman Moore; scrapbooks on the Whitney Studio Club, Whitney Studio Galleries and the Museum, 1927-1965.

REELS N599-N604: Notebooks of Edwin W. Dickinson; photographs and provenance information for works by Philip Evergood; a catalog of information and some photographs of Chinese ink drawings and other works by Reginald Marsh; and photographs and information on Bernard Reder, Jack Tworkov, Max Weber (portions also microfilmed on reel NY59-8 (fr. 497-658), reel NY59-9 (fr. 1-51), and William Zorach.

REELS N604-N609: Exhibition catalogs, 1946-1966, for artists and groups shows at the Museum, including Robert Feke, William Rimmer, Ralph Blakelock, Albert Maurer, Albert Pinkham Ryder, Yasuo Kuniyoshi, Thomas Cole, Max Weber, Arshile Gorky, Mark Tobey, John Sloan, Loren MacIver, I. Rice Pereira, George Grosz, Reginald Marsh, Charles Burchfield, Morris Graves, Theodore Roszak, John Marin, Hans Hofmann, Bradley Tomlin, Stuart Davis, Milton Avery, Lee Gatch, Jose De Creeft, Maurice Prendergast, Edward Hopper, Hyman Bloom, Robert E. Jones, Balcomb Greene, Karl Zerbe, Arthur G. Dove, William Zorach, Philip Evergood, Bernard Reder, Herbert Feber, Oliver O'Connor Barrett,Arthur B. Davies, Jose De Rivera, Paul Burlin, Joseph Stella, Jack Tworkov, Ivan Albright, Stuart Davis, Edwin Dickinson, John Quidor, and Niles Spencer.

REELS N646-N694: Artists' files on: Oliver O'Connor Barrett,William Baziotes, George Bellows, Thomas Hart Benton, Peter Blume, James Brooks, Patrick Henry Bruce, Charles Burchfield, Paul Burlin, David Burliuk, Paul Cadmus, Mary Cassatt, Thomas Cole, Glenn Coleman, Jon Corbino, John Steuart Curry, Jo Davidson, Arthur B. Davies, Jose DeCreeft, Charles Demuth, Jose De Rivera, Arthur Dove, Guy Pène du Bois, Stuart Davis, Frank Duveneck, Ralph Earl, Eastman Johnson, The Eight, Philip Evergood, Robert Feke, Lyonel Feininger, Ernest Fiene, George Fuller, Lee Gatch, William Glackens, Arshile Gorky, Balcomb Greene, Chaim Gross, George Grosz, William Harnett, Marsden Hartley, Childe Hassam, John Heliker, Robert Henri, Hans Hofmann, George Inness, Leon Kelly, Franz Kline, Karl Knaths, Leon Kroll, Walt Kuhn, Yasuo Kuniyoshi, Gaston Lachaise, Robert Laurent, Ernest Lawson, Jack Levine, Seymour Lipton, George B. Luks,

Stanton Macdonald-Wright, Loren MacIver, John Marin, Reginald Marsh, Alfred Maurer, K. H. Miller, Robert Motherwell, William Mount, Jerome Myers, Louise Nevelson, Georgia O'Keeffe (portions also microfilmed on reels NY59-13 (fr. 98-115, 406-424, 586-685), reel NY59-14 (entire), and reel NY59-15 (fr. 1-140, 145-153), I. Rice Pereira, Bernard Perlin, Joseph Pollett, Jackson Pollock, Reginald Pollack, Henry V. Poor, Richard Pousette-Dart, Maurice Prendergast, Abraham Rattner, Bernard Reder, Ad Reinhardt, William Rimmer, Larry Rivers, Hugo Robus, Theodore Roszak, Mark Rothko, Concetta Scarvaglione, Henry Schnakenberg, Ben Shahn, John Sloan, David Smith, Eugene Speicher, Theodoros Stamos, Joseph Stella, Maurice Sterne, Mark Tobey, Bradley Tomlin,Trajan, Allen Tucker, John Twachtman, Jack Tworkov, Abraham Walkowitz (also on reel NY/59-15) , Max Weber, James M. Whistler, Gertrude Whitney, Grant Wood, Alexander Wyant, Mahonri Young, and William Zorach.

REELS NWH 1-NWH 7: Artist files on Charles Sheeler, Bernard Karfiol, Louis Eilshemius; scatterred records of the Whitney Studio Club and Museum, 1914-1945, including minutes, Oct. 15, 1930, and Whitney Studio ledgers, 1928-1931; catalogs of one-man shows, 1932-1945; catalogs of annual painting exhibitions, 1932-1940, sculpture, watercolor and drawing exhibitions, 1933-1945, and group exhibitions, 1932-1945; and clippings, Oct. 1935-1936.

REELS NY59/8 (fr. 256-end)-NY59/10: Files on Max Weber, including biographical material, lists of work, and miscellany. Also found (NY59/8 frames 354-383) are ca.20 letters from Weber to Abraham Walkowitz, 1907-1924.

Biographical / Historical:

Whitney Museum of American Art is an American art museum in New York, New York. Founded by Gertrude Vanderbilt Whitney and formally opened in 1931. Previous to its opening as a museum it was known as the Whitney Studio Club (1914-28) and Whitney Studio Galleries (1928-30).

Provenance:

The Weber files on reels NY59/8-10 were lent for microfilming 1959 by the Whitney Museum of American Art; the remainder was lent 1964-1967; additional material from the Museum was lent at the same time, and subsequently donated, including the papers of Lloyd Goodrich, Juliana Force, Thomas B. Clarke, the American Art Research Council, and Gertrude Vanderbilt Whitney; these have each been cataloged separately. Portions of Weber, and O'Keeffe material that was microfilmed in 1959 were refilmed in 1967.

Restrictions:

The Archives of American art does not own the original papers. Use is limited to the microfilm copy.

Topic:

Art, Modern -- 20th century -- United States  Search this

Artists -- Exhibitions -- New York (State) -- New York  Search this

Art, American  Search this

Function:

Art museums -- New York (State)

Identifier:

AAA.whitmuse

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw990da7b91-a3b8-4ace-b8ba-b5c08cfe3284

EDAN-URL:

ead_collection:sova-aaa-whitmuse

Interviewee:

Kuhn, Brenda, 1911-  Search this

Names:

Kuhn, Walt, 1877-1949  Search this

Extent:

1 Sound tape (Sound recording: 1 sound tape, 7 in.)

1 Sound cassette (Sound recording)

Type:

Collection descriptions

Archival materials

Sound tapes

Sound cassettes

Sound recordings

Interviews

Date:

1966 Apr. 1

Scope and Contents:

An interview with Brenda Kuhn conducted 1966 Apr. 1 by an unknown interviewer.

Biographical / Historical:

Brenda Kuhn (1911-1993), an art patron and historian, was the daughter of painter Walter Kuhn (1877-1949) and lived in Cape Neddick, Maine where she founded Cape Neddick Park.

Provenance:

Donor unspecified. Second interview conducted by G.McCoy (2/1966) for AAA, deacessioned 10/94 due to unintellible sound quality.

Restrictions:

Untranscribed; use requires an appointment.

Occupation:

Historians  Search this

Topic:

Women art patrons  Search this

Folk artists  Search this

Women artists  Search this

Women artists -- Maine  Search this

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.kuhnbren

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw994bfbf5a-a5a6-4706-bdcc-662d25863451

EDAN-URL:

ead_collection:sova-aaa-kuhnbren

Creator:

Whitney Museum of American Art  Search this

Subject:

Baziotes, William  Search this

Bellows, George  Search this

Benton, Thomas Hart  Search this

Bloom, Hyman  Search this

Burchfield, Charles Ephraim  Search this

Burlin, Paul  Search this

Cadmus, Paul  Search this

Cassatt, Mary  Search this

Curry, John Steuart  Search this

Davis, Stuart  Search this

De Creeft, José  Search this

Dickinson, Edwin Walter  Search this

Pène Du Bois, Guy  Search this

Eilshemius, Louis M. (Louis Michel)  Search this

Evergood, Philip  Search this

Feininger, Lyonel  Search this

Gatch, Lee  Search this

Glackens, William J.  Search this

Gorky, Arshile  Search this

Graves, Morris  Search this

Gross, Chaim  Search this

Grosz, George  Search this

Harnett, William Michael  Search this

Hartley, Marsden  Search this

Henri, Robert  Search this

Hofmann, Hans  Search this

Hopper, Edward  Search this

Inness, George  Search this

Karfiol, Bernard  Search this

Kuhn, Walt  Search this

Kuniyoshi, Yasuo  Search this

Lachaise, Gaston  Search this

Lawson, Ernest  Search this

MacIver, Loren  Search this

Marin, John  Search this

Marsh, Reginald  Search this

Motherwell, Robert  Search this

Mount, William Sidney  Search this

Nevelson, Louise  Search this

O'Keeffe, Georgia  Search this

Pereira, I. Rice (Irene Rice)  Search this

Pollock, Jackson  Search this

Prendergast, Maurice Brazil  Search this

Reder, Bernard  Search this

Rimmer, William  Search this

Rivers, Larry  Search this

Rothko, Mark  Search this

Ryder, Albert Pinkham  Search this

Schnakenberg, H. E. (Henry Ernest)  Search this

Sheeler, Charles  Search this

Sloan, John  Search this

Smith, David  Search this

Stella, Joseph  Search this

Tobey, Mark  Search this

Twachtman, John Henry  Search this

Tworkov, Jack  Search this

Walkowitz, Abraham  Search this

Weber, Max  Search this

Wyant, A. H. (Alexander Helwig)  Search this

Young, Mahonri Mackintosh  Search this

Zorach, William  Search this

Whitney Studio Club  Search this

Whitney Studio Galleries  Search this

Citation:

Whitney Museum of American Art artists' files and records, 1914-1966. Archives of American Art, Smithsonian Institution.

Topic:

Art, Modern -- 20th century -- United States  Search this

Artists -- Exhibitions -- New York (State) -- New York  Search this

Art, American  Search this

Theme:

Art organizations  Search this

Record number:

(DSI-AAA_CollID)6584

(DSI-AAA_SIRISBib)215886

AAA_collcode_whitmuse

Theme:

Art organizations

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_215886

Creator:

MacRae, Elmer Livingston, 1875-1953  Search this

Names:

Armory Show (1913: New York, N.Y.)  Search this

Association of American Painters and Sculptors (New York, N.Y.)  Search this

Hirshhorn Museum and Sculpture Garden  Search this

Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this

Kuhn, Walt, 1877-1949  Search this

Pach, Walter, 1883-1958  Search this

Extent:

1.8 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1899-circa 2013

bulk 1912-1916

Summary:

The Elmer Livingston MacRae papers related to the Association of American Painters and Sculptors, Inc., (AAPS) measure 1.8 linear feet and date from 1899 to circa 2013, with the bulk of the material dating from 1912-1916. Elmer Livingston MacRae served as Treasurer of the AAPS when the association organized the International Exhibition of Modern Art, also known as the Armory Show of 1913. The bulk of this collection concerns MacRae's involvement with the AAPS and the Armory Show and includes administrative files, correspondence, exhibition files, financial records, printed materials, and artifacts.

Scope and Contents:

The Elmer Livingston MacRae papers related to the Association of American Painters and Sculptors, Inc., (AAPS) measure 1.8 linear feet and date from 1899 to circa 2013, with the bulk of the material dating from 1912-1916. Elmer Livingston MacRae served as Treasurer of the AAPS when the association organized the International Exhibition of Modern Art, also known as the Armory Show of 1913. The bulk of this collection concerns MacRae's involvement with the AAPS and the Armory Show and includes administrative files, correspondence, exhibition files, financial records, printed materials, and artifacts.

Biographical material includes an old collection inventory from the Hirshhorn Museum and Sculpture Garden, two annotated appointment books, and a small handbook with notes.

Correspondence consists of letters addressed to Elmer MacRae from AAPS members such as Arthur B. Davies, Walt Kuhn, and Walter Pach, as well as other various artists, dealers, lenders, and buyers. Most letters concern AAPS business and organizing the Armory Show.

AAPS administration records include the organization's constitution, letterhead, meeting minutes, a report, and a membership list.

The Armory Show exhibition tour files consist of materials related to openings in Chicago and Boston. Materials include lists that track sales of tickets and pamphlets, insurance lists, a contract, an art inventory, and other items.

Financial records consist of AAPS and exhibition expenses in the form of sales lists of artwork, payroll information, shipping and transportation invoices, bills, rescinded dues, cashiers' journals, ledgers, a receipt book, and a checkbook.

Printed material includes copies of Armory Show exhibition catalogs, AAPS pamphlets, newspapers, magazines, clippings, postcards, and a poster.

Artifacts consist of AAPS memorabilia from the exhibition. There are button pins, calling cards, event invitations, mailing cards, signs, tickets, and other miscellany.

Arrangement:

The collection is arranged as 7 series.

Missing Title

Series 1: Biographical Material, 1899-1913, circa 1988 (0.1 linear feet; Box 1)

Series 2: Correspondence, 1911-1915, 1958 (0.2 linear feet; Box 1)

Series 3: Administration Records, circa 1911-circa 1916 (0.1 linear feet; Box 1)

Series 4: Armory Show Tour Files, 1913 (0.1 linear feet; Box 1)

Series 5: Financial Records, 1912-1916 (0.5 linear feet; Box 1)

Series 6: Printed Material, 1911-1959 (0.6 linear feet; Box 2, OV 4-5)

Series 7: Artifacts, 1913, circa 2013 (0.2 linear feet; Box 3)

Biographical / Historical:

Elmer MacRae (1875-1953) was a New York and Connecticut-based painter and served as treasurer of the Association of American Painters and Sculptors when the association organized the 1913 Armory Show.

Elmer Livingston MacRae was born in New York City in 1875. In the late 1890s, MacRae summered in an artist's community in Cos Cob, Connecticut, where he met his wife Emma Constant Holley. He moved full time to Cos Cob in 1899. MacRae became active in the Pastellists group. He was affiliated with the Macbeth and Madison Galleries in New York, where he was on friendly terms with fellow painters Jerome Myers and Walt Kuhn. In 1911, MacRae became a member of the Association of American Painters and Sculptors (AAPS), Inc. From 1912 to 1916, MacRae served as Treasurer of the AAPS, the organization which organized the seminal 1913 Armory Show exhibition of modern American and European art. Formally titled the International Exhibition of Modern Art, the exhibition introduced many Americans to modern art for the first time. The Armory Show began at New York City's 69th Street Armory, then continued on to the Art Institute of Chicago, and Boston's Copley Society of Art. The latter venue did not include the American art due to space constraints.

Related Materials:

The Archives of American Art also holds the Walt Kuhn, Walt Kuhn family papers and Armory Show records as well as the Joseph Hirshhorn papers regarding the Elmer MacRae papers.

Provenance:

The Elmer Livingston MacRae papers were donated to the Archives of American Art in 2016 by the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution in Washington, D.C.

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 Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- Connecticut  Search this

Painters -- New York (State)  Search this

Topic:

Art, Modern -- 20th century -- Exhibitions  Search this

Function:

Arts organizations

Citation:

Elmer Livingston MacRae papers related to the American Association of Painters and Sculptors, 1899-circa 2013, bulk 1912-1916. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by The Walton Family Foundation and the Terra Foundation for American Art.

Identifier:

AAA.macrelme

See more items in:

Elmer Livingston MacRae papers related to the Association of American Painters and Sculptors

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e6a6b2d5-8ab6-44ea-82ad-f4fbe72040ff

EDAN-URL:

ead_collection:sova-aaa-macrelme

Creator:

Cushing, Lily Emmet, 1909-1969  Search this

Names:

Maynard Walker Gallery  Search this

Zhonghua fu nü fan gong kang E lian he hui  Search this

Bernstein, Henri  Search this

Chiang, May-ling Soong, 1897-2003  Search this

Frankfurter, Alfred M.  Search this

Graham, Katharine, 1917-  Search this

Kefauver, Nancy, 1912-1967  Search this

Kuhn, Walt, 1877-1949  Search this

Onassis, Jacqueline Kennedy, 1929-1994  Search this

Extent:

4 Linear feet

Type:

Collection descriptions

Archival materials

Postcards

Notebooks

Photographs

Typescripts

Paintings

Date:

1929-1972

Summary:

The papers of painter Lily Emmet Cushing date from 1929 to 1972 and measure 4.0 linear feet. Found within the papers are biographical material; letters from friends including Henri Bernstein, Alfred M. Frankfurter, Katharine Graham, Nancy Kefauver, and Walt Kuhn; personal business records including financial material concerning the Maynard Walker Gallery; notes and writings; art work; printed material; and photographs.

Scope and Content Note:

The papers of painter Lily Emmet Cushing date from 1929 to 1972 and measure 4.0 linear feet. Found within the papers are biographical material; letters from friends including Henri Bernstein, Alfred M. Frankfurter, Katharine Graham, Nancy Kefauver, and Walt Kuhn; personal business records including financial material concerning the Maynard Walker Gallery; notes and writings; art work; printed material; and photographs.

Biographical material consists primarily of address books and lists of addresses, but also includes miscellaneous resumés and a certificate of participation in the Art in the Embassies program. signed by Nancy Kefauver.

Scattered letters received by Cushing are primarily from friends including Henri Bernstein, Alfred M. Frankfurter, Katharine Graham, Nancy Kefauver, and Walt Kuhn. There are also letters concerning the Chinese Women's Anti-Aggression League that benefited the charitable and social welfare organizations of the Chinese Navy.

Personal business records include lists of art work and purchasers, price lists, financial and legal documents, and various receipts, including some for art supplies. Papers concerning the Maynard Walker Gallery include letters discussing sales, invoices, and a ledger listing sales of art work by various artists including Lily Cushing Emmet.

Notes and Writings consist of notebooks containing annotations on miscellaneous topics including household items, painting, plants, and recipes. Miscellaneous notes concern art work, fabric, and furnishings. Typescripts by others concern the genealogy of the Clark family.

Art work consists of a schematic drawing, small oil paintings on masonite, and a commercial printing block of a design by Walt Kuhn.

Printed material consists of clippings, exhibition announcements and catalogs, programs, miscellaneous brochures, picture postcards of scenes in the United States, Europe, and Mexico and of Native Americans.

Photographs are of Cushing, her daughters, her third husband Capt. Alston Boyd, friends and colleagues including Mme. Chiang Kai-Shek, various houses, travel scenes, miscellaneous plants, and of art work. There is also a photograph of Jacqueline Kennedy Onassis.

Arrangement:

The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Material, 1953-1967 (Box 1; 14 folders)

Series 2: Letters, 1929-1972 (Box 1-2, OV 7; 1.4 linear feet)

Series 3: Personal Business Records, 1934-1969 (Box 2-3, 6; 0.8 linear feet)

Series 4: Notes and Writings, 1955-1969 (Box 3; 23 folders)

Series 5: Art Work, circa 1940 (Box 3, 6; 3 folders)

Series 6: Printed Material, 1930-1968 (Box 3, 6; 30 folders)

Series 7: Photographs, 1940-1968 (Box 3-6; 0.8 linear feet)

Biographical Note:

Lily Cushing (1909-1969) of New York City was primarily known as a painter of landscapes and still lifes of flowers.

Lily Cushing was born on January 13, 1909 in New York City, the third child of Ethel Cochrane and artist Howard Gardiner Cushing. She studied painting in the studio of Alexandre Jacovleff in Paris from 1926-1927, and with Walt Kuhn in New York City in 1929. Cushing's first solo exhibition was at the Arden Gallery in New York in 1930.

In 1929, Cushing married George Crawford Clark Jr. in Newport, Rhode Island. Following her divorce from Clark, she married William Temple Emmet, Jr. in 1932. They had two daughters, Alexandra and Lily. Cushing's second marriage also ended in divorce. In 1953, she married naval officer Alston M. Boyd in New York.

Cushing's work is in the collections of the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, and in the private collections of Paul Mellon, John Hay Whitney, and Joseph P. Kennedy, among others.

Lily Cushing died on September 21, 1969, in Fishers Island, New York.

Separated Material:

An unrecorded number of exhibition catalogs were removed from the collection and given to the Smithsonian American Art Museum/National Portrait Gallery Art Library in 1977.

Provenance:

The Lily Emmet Cushing papers were donated in 1972 by the artist's daughters Alexandra Emmet Schlesinger and Lily Emmet West.

Restrictions:

Use of original papers requires an appointment.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- New York (State) -- New York  Search this

Topic:

Landscape painting  Search this

Women artists  Search this

Women painters  Search this

Genre/Form:

Postcards

Notebooks

Photographs

Typescripts

Paintings

Citation:

Lily Emmet Cushing papers, 1929-1972. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.cushlily

See more items in:

Lily Emmet Cushing papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96c1d34f2-db7f-4657-8a5b-46b489f7c54e

EDAN-URL:

ead_collection:sova-aaa-cushlily

Creator:

Blumenschein, Ernest Leonard, 1874-1960  Search this

Names:

Committee on Public Information  Search this

National Academy of Design (U.S.)  Search this

Salmagundi Club  Search this

Taos Society of Artists  Search this

Blumenschein, Helen G. (Helen Greene)  Search this

Blumenschein, Mary Greene  Search this

Gilbert, Cass, 1859-1934  Search this

Glackens, William J., 1870-1938  Search this

Kuhn, Walt, 1877-1949  Search this

Meem, John Gaw, 1894-1983  Search this

Sharp, Joseph Henry, 1859-1953  Search this

Tarkington, Booth, 1869-1946  Search this

Ufer, Walter, 1876-1936  Search this

Extent:

2.1 Linear feet

Type:

Collection descriptions

Archival materials

Writings

Photographs

Date:

1873-1964

Summary:

The papers of southwest painter and illustrator Ernest Blumenschein measure 2.1 linear feet and date from 1873-1964. The collection documents Blumenschein's artistic career, his relationship with his wife and daughter, his love of the American southwest, and his involvement in the art community of Taos, New Mexico. Found are biographical materials, personal and professional correspondence, scattered personal business records, writings, a large amount of juvenilia artwork, and photographs of artwork.

Scope and Content Note:

The papers of southwest painter and illustrator Ernest Blumenschein measure 2.1 linear feet and date from 1873-1964. The collection documents Blumenschein's artistic career, his relationship with his wife and daughter, his love of the American southwest, and his involvement in the art community of Taos, New Mexico. Found are biographical materials, personal and professional correspondence, scattered personal business records, writings, a large amount of juvenilia artwork, and photographs of artwork.

Biographical materials include biographical sketches, school notebooks and curriculum vita, family genealogical materials and other family records, certificates, diplomas, and materials commemorating Blumenschein's election to the National Academy of Design. Also found are scattered ephemera items, such as membership cards, tickets, and travel materials.

Correspondence consists primarily of letters between Blumenschein, his wife Mary, and his daughter Helen. These discuss Blumeschein's career, domestic life, financial matters, Helen's schooling, and travel. Blumenschein's activities during World War I are documented by correspondence with the Committee of Public Information, the Salmagundi Club, and with Aide de Camps of army bases. There are a few letters from other artists and writers including William Glackens, Walt Kuhn, Ward Lockwood, Booth Tarkington, and a long letter from Cass Gilbert.

Scattered personal business records consist of a guest list, a list of Blumenschein works in a private collection, a jury duty certificate, and a car payment record.

Writings include personal, critical, and creative writings. There are writings by Blumenschein about the founding of the Taos Society of Artists and the artistic community of Taos and his memoirs about his first trip to Taos. Additional writings include a satirical discussion of modern art, and essays about artists John Gaw Meem, Joseph Henry Sharp, and Walter Ufer, and discussions of select paintings. Blumenschein also wrote of his travels in Paris, Switzerland, and Pittsburgh, as well as about French churches and cemeteries. Creative writings explore the landscape, life and culture of the American southwest.

Artwork consists primarily of fourteen folders of Blumenschein's illustrations for "Tomfoolery," a handwritten and hand drawn magazine that Blumenschein contributed to in high school. His illustrations for "Tomfoolery" include portraits, caricatures, and sequential art. Also found is one folder of small sketches.

Printed materials about Blumenschein include clippings, exhibition announcements, and exhibition catalogs. There are also brochures related to the Taos Art Colony and a 1902 menu for a Salmagundi Club program/dinner Also found here is a 1915 signed menu from a National Academy of Design event signed by Gifford Beal, George Bellows, and Eugene Spiecher among others.

Photographs include two portraits of Blumenschein and a group portrait of National Academy of Design members that includes Blumenschein. There are also photographs of Blumeschein's artwork and installation views of Blumenschein exhibitions.

Some images and language in these manuscripts may be offensive to viewers. It is presented as it exists in the original documents for the benefit of research. This material in no way reflects the views of the Archives of American Art or the Smithsonian Institution.

Arrangement:

The collection is arranged into 7 series:

Missing Title

Series 1: Biographical Materials, 1873-1971 (Boxes 1, OV1; 17 folders)

Series 2: Correspondence, 1891-1970 (Box 1; 0.5 linear feet)

Series 3: Personal Business Records, 1918-1950s (Box 1; 4 folders)

Series 4: Writings, 1880s-1959 (Box 1-2; 0.5 linear feet)

Series 5: Artwork, 1888-1925 (Box 2; 0.25 linear feet)

Series 6: Printed Materials, 1891-1964 (Box 2, OV1; 0.5 linear feet)

Series 7: Photographs, 1880s-1955 (Box 2, OV1; 0.25 linear feet)

Biographical Note:

Ernest Blumenschein was born on May 26th, 1874 in Pittsburgh, Pennsylvania. He moved to Dayton, Ohio at the age of four, the same year his mother died. His father was a professional musician and composer, who chiefly made his living as a conductor of large choruses. During high school he contributed illustrations to "Tomfoolery," a handwritten and hand drawn weekly humor magazine. Besides his artistic talents, Ernest Blumenschein was a skilled violin player, and was awarded a scholarship to the Cincinnati College of Music. In 1892, Blumenschein auditioned for the New York National Conservatory, and was chosen by Anton Dvorak for the role of first violin. With the income from playing violin, Blumenschein attended classes at the Art Students League.

In 1892, Ernest Blumenschein first traveled to Paris to study at the Académie Julian. While in Paris, he met Joseph Henry Sharp who inspired Blumenschein with his stories and sketches of the American southwest, particularly the Taos area. He returned to American in 1896, rented a studio with another Académie Julian student Bert Phillips, and began a successful career as a commercial illustrator working for magazines such as Century, Harper's, Scribner's, and McClure's.

Blumenschein first visited Taos in the fall of 1898 while traveling en route to Mexico on a sketching trip with Phillips. A wheel on the wagon carrying their belongings broke and they took it to the nearest blacksmith in the area, which was in Taos. Upon arriving at Taos, Blumenschein was struck by the "the superb beauty and serenity" of the landscape and was "stirred deeply." The town made a strong impact on both Blumenschein and Phillips, but while Phillips decided to stay, Blumenschein returned to New York for a short while and continued working as an illustrator. The following year Blumenschein decided to concentrate on painting, and re-enrolled at the Académie Julian while supporting himself with his commercial work. In 1903, he met Mary Greene, an American painter living in Paris and they married in 1905, and began sharing a Paris studio. Their daughter and only child, Helen, was born in November of 1909.

While Ernest Blumenschein continued to study in Paris, he also kept working as an illustrator, supporting himself easily. His illustration work was much in demand by American magazines and book publishers. Blumenschein was commissioned to illustrate Jack London's first book, Love of Life, in 1904. He also worked with other famous writers such as Stephen Crane, Willa Cather, and Joseph Conrad.

Upon returning to New York after the birth of their daughter, Ernest and Mary taught at the Pratt Institute. Ernest spent every summer in Taos. In 1919, the family moved permanently to Taos, with Helen returning to New York for school. It was during this time that Blumenschein co-founded the Taos Society of Artists and became part of the Taos art colony. For four decades, Blumenschein created paintings of the landscape, local inhabitants, the Taos Pueblo culture, and city skylines. He won numerous awards for his work and exhibited widely. His work was responsible for changing perceptions about the native culture and peoples of the area - the Navajo and Pueblo Indians. Blumenschein also indulged his love of the outdoors and sports. He avidly camped, played tennis, and was part of the Taos amateur baseball team. His artistic output in the 1950s was hampered by his declining health, and the death of Mary in 1958. Blumenschein died in June of 1960, and his ashes are repositioned at the Taos Pueblo Reservation.

Related Material:

Found in the Archives of American Art is a small collection of "Ernest Blumenschein letters and transcripts", available on microfilm reel 3281, and consisting of eleven letters between Blumenschein and Thomas Gilcrease, a letter between Helen Blumenschein and Gilcrease, and the transcript of a 1958 radio interview with Blumenschein.

Additionally, the Fray Angélico Chávez History Library in Santa Fe, New Mexico holds papers related to Ernest Blumenschein, Mary Greene Blumenschein, and Helen Greene Blumenschein.

Provenance:

The collection was donated to the Archives of American Art by Helen Greene Blumenschein, Ernest Blumenschein's daughter, in 1971.

Restrictions:

Use of the original papers requires an appointment.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- New Mexico -- Taos  Search this

Topic:

Illustrators -- New Mexico -- Taos  Search this

Taos School of Art  Search this

Works of art  Search this

Painting -- New Mexico -- Taos  Search this

World War, 1914-1918  Search this

Genre/Form:

Writings

Photographs

Citation:

Ernest Blumenschein papers, 1873-1964. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.

Identifier:

AAA.blumerne

See more items in:

Ernest Blumenschein papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9be57a409-a4fd-450c-a1e2-bfe0a6b923aa

EDAN-URL:

ead_collection:sova-aaa-blumerne