Correspondence with dealers, artists, museums, publishers, photography studios, and others regarding art purchases, loans, and Shaw's collection; and 16 v. of scrapbooks containing photographs, letters, and biographical information on artists. Much of the correspondence with artists relates to Shaw's requests for the information which was then used in the scrapbooks. Also included is one volume compiled in 1947 outlining the contents of the scrapbooks.
REELS 1124-1125: 16 vol. of scrapbooks, 1864-1930, relating to artists represented in Shaw's collection, containing letters, many from artists, photographs of artists and their work, biographical data, clippings and articles, and comments on their work; and 1 v., "Notes: Edwin C. Shaw Collection of Paintings," compiled in 1947, and annotated "Used at Women's Art League Meeting at Miss Shaw's in 1947 by Mrs. [Jane S.] Barnhardt, who compiled it, and then given to the Art Institute Library," containing an outline of the contents of the 16 v. of scrapbooks.
Artists represented in the scrapbooks include J. Carroll Beckwith, Frank W. Benson, Ralph Blakelock, Emil Carlsen, William Merritt Chase, Timothy Cole, Elliott Daingerfield, Cyrus B. Dallin, Charles Davis, Warren Davis, Gleb Derujinsky, Charles M. Dewey, Thomas W. Dewing, Paul Dougherty, Frank Duveneck, Charles Eaton, Frederick Frieseke, George Fuller, Lillian Genth, Childe Hassam, Charles Hawthorne, William Morris Hunt, George Inness, John Johansen, Isidore Konti, John La Farge, William Lathrop, Frederick MacMonnies, Hermon A. MacNeil, Willard Metcalf, Herman Dudley Murphy, J. Francis Murphy, A. Phimister Proctor, Henry Ward Ranger, William Ritschel, Felix Russmann, Albert P. Ryder, Eugenie F. Shonnard, Lars Gustaf Sellstedt, Elliot Torrey, Dwight Tryon, Helen M. Turner, John Twachtman, Elihu Vedder, Bessie P. Vonnoh, Robert Vonnoh, Horatio Walker, J. Alden Weir, Frederick Ballard Williams, Henry Wolf and "The Ten."
REEL 4597: Correspondence, ca. 1916-1941, concerning art acquisitions with dealers Erwin S. Barrie of Grand Central Art Galleries; Thomas Whipple Dunbar; Frederic Newlin Price and T.H. Russell of Ferargil Galleries; W. Frank Purdy of the Gorham Co. Dept. of Sculpture and later the School of American Sculpture; D.H. Hatfield of Hatfield & Clark; Thomas Gerrity of M. Knoedler & Co.; Robert Macbeth, Robert McIntyre and Henry Miller of the Macbeth Gallery; Albert Milch of E.& A. Milch, Inc.; Newman Montross of Montross Gallery; J.E. Batts of the Thurber Art Galleries; Robert C. Vose of R.C. & N.M. Vose and Vose Galleries, and their frame shop, Carrig-Rohane; Howard Young of Howard Young Galleries; and J.W. Young; correspondence with artists and/or their families requesting the artist's portrait, biographical information and background, including letters from Elliot Daingerfield, Charles Dewey, Thomas Wilmer Dewing, John C. Johansen, Willard Leroy Metcalf, Hervey W. Minns, Hermann Dudley Murphy, A.P. Proctor, Eugenie Shonnard, Elliot Torrey, Dwight W. Tryon, Helen M. Turner, and Horatio Walker, and the families of J. Carroll Beckwith, George Inness, Lars Gustaf Sellstedt, John Henry Twachtman and J. Alden Weir; correspondence with the Dayton Art Museum and the Metropolitan Museum of Art regarding works lent for exhibition; with publisher Frederic Fairchild Sherman; with photography studios; and other miscellaneous correspondence.
Biographical / Historical:
Art collector; Akron, Ohio. Shaw, a BF Goodrich executive and avid collector of post-Civil War American art, was one of the founders of the Akron Art Institute, now the Akron Art Museum.
Provenance:
Lent for microfilming 1976 and 1992 by the Akron Art Museum. Shaw bequethed his art collection and papers to the Museum, then named the Akron Art Institute.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Quotes and excerpts must be cited as follows: Oral history interview with Edith Gregor Halpert, 1962-1963. Archives of American Art, Smithsonian Institution.
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
The records of New York City's Grand Central Art Galleries measure 1.3 linear feet and date from 1931 to 1968, with the bulk of the material from circa 1952 to circa 1965. The majority of the records are related the Grand Central Moderns, the modern art division of Grand Central Art Galleries. The collection includes group exhibition files, artists' files, printed material and photographs.
Scope and Contents:
The records of New York City's Grand Central Art Galleries measure 1.3 linear feet and date from 1931 to 1968, with the bulk of the material from circa 1952 to circa 1965. The majority of the records are related the Grand Central Moderns, the modern art division of Grand Central Art Galleries. The collection includes group exhibition files, artists' files, printed material and photographs.
Group exhibition files consist of catalogs, announcements, clippings, artist biographies, correspondence and photographs. The art exchange exhibition between Grand Central Moderns and Galerie Jeanne Bucher is especially noteworthy.
Artists' files include exhibition catalogs, announcements, resumes, clippings, photographs and limited correspondence. The bulk of the material is on artists who had exhibitions at Grand Central Moderns. Notable artists include Elise Asher, Byron Browne, Victor Candell, Joseph De Martini, Xavier Gonzalez, Jacob Kainen, Jennett Lam, Seong Moy, Arthur Osver, Herman Rowan, Lucia Salemme, and Robert Watts, among others.
Printed material mostly consists of exhibition catalogs and announcements of other galleries. There are a few clippings on Grand Central Art Galleries.
There are a few photographs of artwork.
Arrangement:
The collection is arranged as 4 series.
Series 1: Group Exhibition Files, 1952-1957 (Box 1, OV 3; 0.3 linear feet)
Series 2: Artists' Files, 1940-1968 (Box 1, 0.7 linear feet)
Series 3: Printed Material, 1951-1965 (Boxes 1-2; 0.3 linear feet)
Series 4: Photographs, 1931, circa 1960-circa 1965 (Box 2; 2 folders)
Biographical / Historical:
Grand Central Art Galleries (1923-1994) was a large New York-based art gallery, which also had a modern art division called Grand Central Moderns (1947-circa 1967).
The Grand Central Art Galleries was founded in 1923 and operated as the exhibition space of the Painters and Sculptors Gallery Association in New York City. Grand Central Art Galleries was located at Grand Central Terminal for nearly 30 years before moving on to the Biltmore Hotel at 40 Vanderbilt Avenue, then relocating to 24 West 57th Street. The Galleries regularly exhibited the works of its members and sometimes boasted as many as thirty to forty exhibitions annually.
From its establishment in 1923, Edwin S. Barrie was the director of Grand Central Art Galleries and he founded Grand Central Moderns in 1947, which he also managed until the early 1950s. The gallery moved from one address to another before ultimately relocating to 130 East 56th Street. Colette Roberts was the curator and she took over as director in 1952 until roughly 1965, about two years before Grand Central Moderns closed. Byron Browne, Kenneth Campbell, Lamar Dodd, Xavier Gonzalez, George Morrison and Louise Nevelson were a few of the artists represented by the gallery.
Erwin S. Barrie retired from his position as director of Grand Central Art Galleries in 1975. The gallery closed in 1994.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels NGCAG1-NGCAG2) including 23 yearbooks, 1928-1945, and exhibition catalogs, 1923-1929. The originals were returned to Grand Central Art Galleries after microfilming and are not described in the the container listing of this finding aid.
Provenance:
Grand Central Art Galleries loaned materials for microfilming in 1966. Addition records were donated to the Archives of American Art by Grand Central Art Galleries in 1966 and 1967.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Colette Roberts papers and interviews with artists, circa 1930-1971. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by The Brown Foundation, Inc.
2.2 Linear feet ((partially microfilmed on 1 reel))
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1904-1975
Scope and Contents:
Correspondence, sketchbooks, photographs, a scrapbook, and printed material.
REEL 1255: A 27 page scrapbook, ca.1930-1969, containing letters and clippings.
UNMICROFILMED: Correspondence, 1923-1975, with Erwin S. Barrie, Pietro Pezzati, Vincent L. Price, Thomas Messer, Dorothy Miller, T. Gilbert Brouillette, and others; 27 sketchbooks; 26 sketches; 1 photograph album and ca. 80 photographs of Gibbs, his family and friends, including William Littlefield and the Provincetown Art Association; exhibition announcements, catalogs, press releases, and clippings, ca. 1929-1964.
Biographical / Historical:
Painter; Boston, Massachusetts.
Provenance:
Material on reel 1255 lent for microfilming 1975 by Margaret Gibbs, wife of Howard. Unmicrofilmed material was donated by Margaret Gibbs, 1975, and by their daughter, Katherine Gibbs Tubman La Fleur, 1976-1978.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Trowbridge, Alexander Buell, 1868-1950 Search this
Extent:
2.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Prints
Sketches
Sketchbooks
Place:
Mexico -- description and travel
Date:
circa 1878-1982
Summary:
The papers of painter and frame maker Hermann Dudley Murphy measure 2.8 linear feet and date from circa 1878-1982. Found are biographical materials, correspondence, writings, personal business records, printed materials, a scrapbook, photographs, and original artworks, including sketchbooks.
Scope and Contents:
The papers of painter and frame maker Hermann Dudley Murphy measure 2.8 linear feet and date from circa 1878-1982. Found are biographical materials, correspondence, writings, personal business records, printed materials, a scrapbook, photographs, and original artworks, including sketchbooks.
The bulk of the papers focus on the later part of Herman Dudley Murphy's career. Specifically, correspondence focuses on the sale of still-life paintings and sketches and sketchbooks are mostly from Murphy's travels through Europe and Mexico from the 1920s to the 1930s. Correspondents include Mary Ogden Abbott, Edwin S. Barrie, Maurice Prendergast, Chauncey Ryder, Theodore Sizer, Edmund Tarbell, Alexander Trowbridge, and Vose Gallery among others. Personal business records comment on the sale of works of art from 1897 until 1944. Printed materials include clippings and exhibition catalogs spanning Murphy's career. One scrapbook contains photos and printed materials. Photographs and snapshots are of Hermann Dudley Murphey and family, family travels, and works of art and frames. Artwork consists of loose sketches, prints, and sketchbooks.
Arrangement:
This collection is arranged as 8 series.
Missing Title
Series 1: Biographical Materials, 1887-circa 1940 (Box 1; 7 folders)
Series 2: Correspondence, circa 1890-1962 (Box 1; 0.3 linear feet)
Series 3: Writings and Notes, circa 1900-1942 (Box 1; 7 folders)
Series 4: Personal Business and Financial Records, 1897-1944 (Box 1; 0.2 linear feet)
Series 5: Printed Material, 1889-1982 (Box 1-2; 0.9 linear feet)
Series 6: Scrapbook, circa 1910 (Box 2; 1 folder)
Series 7: Photographs, circa 1878-circa 1950 (Box 2; 0.2 linear feet)
Series 8: Artwork, 1892-circa 1940 (Box 2-4; 0.8 linear feet)
Biographical / Historical:
Hermann Dudley Murphy (1867-1945) was a painter and frame maker active in Boston, Massachusetts.
Murphy married Caroline Bowles Murphy with whom he had two children, Carlene and Dudley Murphy. After Caroline died, he married artist Nellie Littlehale. With Nellie, he shared an interest in deck-seat canoeing. Murphy died in 1945.
Provenance:
The collection was donated in 1985 by Alexander B. and Dudley D. B. Samoiloff, grandsons of Hermann Dudley Murphy.
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.
Correspondence in this series is primarily between Walt Kuhn and his professional and personal contacts and spans his entire career. Correspondents include family members, fellow artists, students, dealers, museum and gallery staff, collectors, friends, fans, critics and colleagues. Copies of outgoing correspondence are often present and are interfiled chronologically. Also included is scattered correspondence of Vera and Brenda Kuhn, and correspondence written after Kuhn died that documents his family's efforts to exhibit, sell, and donate his work.
The content of the correspondence ranges from personal and candid to purely transactional. Artists, collectors, dealers, and critics involved in the creation of significant works of art and collections in the early 20th century are represented. An alphabetical index of selected correspondents in this series is provided in the appendix. Another resource for accessing correspondence are the card files in Series 4.8: Notes and Writings, where correspondence with various contacts was indexed by the Kuhns and filed alphabetically by name.
Kuhn regularly instructed students through the mail with lengthy letters about painting techniques and methods. San Francisco painter Otis Oldfield is represented by over 100 lengthy letters in this subseries. Kuhn's letters to Oldfield, returned at Kuhn's request in 1945 for a publication project that was never realized, are interfiled. Other correspondence students include Patsy Santo, Frank di Gioia, Watson Bidwell, John Bernhardt, John Laurent, Goldie Paley, and Eric Lundgren. See the appendix for dates.
Types of material include letters (sometimes illustrated), postcards, invitations, announcements, and Christmas cards, which are sometimes made of original artwork. Enclosures are often found, such as photographs, clippings, tracings of art work, writings, receipts, passes and membership cards. Some letters indicate enclosures that were previously separated and can be found in other series.
Significant writings enclosed with correspondence include an early vaudeville script written by Kuhn and his friend, Archibald Macnab (1923); drafts of articles about Kuhn by the poet Genevieve Taggard (1931), critic Alan Burroughs (1930), and patron Eloise Spaeth (1950); and an unpublished history of the 1913 Armory Show by Paul Bird (1938). Photographs and photographic postcards are also found throughout the series. Included are photo postcards from Spain and France (1925), and from Arizona and California (1928); and photographs related to Kuhn's work for the Union Pacific Railroad Company (1936, 1938).
Additional correspondence can be found throughout the collection. See individual series descriptions for details.
See Appendix for a list of selected correspondents in Series 4.3.
Appendix: Selected Correspondents in Series 4.3:
The following is a selective list of correspondents represented in Series 4.3: General Correspondence, with cross-references to correspondence in 4.4: Selected Gallery and Exhibition Files and 4.5: Provenance Files. It is not comprehensive. An effort has been made to index regionally and nationally known artists, Kuhn's patrons and students, models, art historians, writers, museum and gallery staff, dealers, and persons known to be well-represented in other collections at the Archives of American Art. Cross-references to existing letters in other parts of the Kuhn papers and Armory Show records are included selectively. Correspondents who have not been indexed include family members, neighbors, business contacts from his theater and vaudeville work of the early 1920s, and from his railroad car design work from 1936 to 1948.
Barr, Alfred H. Jr. (Museum of Modern Art): 1929, 1934, 1945 (5 letters)
Barrie, Erwin S. (Grand Central Art Galleries): 1927, 1951 (5 letters; see also Selected Gallery and Exhibition Files)
Barrington, Lewis: 1932
Barry, Bobby (see Provenance Files, "Portrait of Bobby Barry")
Bartlett, Frederic Clay, Jr.: 1939-1940, 1942-1943, 1945, 1947 (7 letters; see also Selected Gallery and Exhibition Files)
Bartley, Louise: 1931
Baur, John I.H. (Brooklyn Museum): 1946 (see also Selected Gallery and Exhibition Files)
Beals, Ralph A. (New York Public Library): 1949
Bear, Donald (Santa Barbara Museum of Art): 1936-1938, 1945, 1948, 1949 (6 items including Christmas cards with original prints; see also Selected Gallery and Exhibition Files)
Beerbohm, Marvin (Detroit School of Art): 1938
Bell, Janet M. (John and Mable Ringling Museum of Art): 1952 (4 letters)
Belmont, Eleanor R.: 1935 Benjamin, Ruth: 1940
Bernays, Edward L. (see also Doris E. Fleischman): 1928, 1935-1937 (4 letters)
Bernhardt, John: 1948-1950 (4 letters; see also Selected Gallery and Exhibition Files, 1947)
Frankenstein, Alfred V. ( -- San Francisco Chronicle -- ): 1940 (2 letters)
Frankfurter, Alfred M.: 1938, 1945, 1947, 1948, 1950 (10 letters)
Fraser, Joseph T. (Pennsylvania Academy of the Fine Arts): 1947, 1951 (3 letters; see also Selected Gallery and Exhibition Files)
Free, Karl R.: 1935
Freeman, Anna (Whitney Museum of American Art): 1938 (2 letters)
Frey, Erwin F.: 1943, 1945, 1947 (4 letters)
Frueh, Alfred: 1925, 1953 (2 letters)
Freund, Frank E.W.: 1932, 1934-1935, 1938 (7 letters)
Friede, Donald S. (Boni and Liveright Publishers): 1927
Frink, Angelika W.: 1941 (see also Selected Gallery and Exhibition Files)
Gallagher, Edward J.: 1952
Gallatin, Albert E.: 1927, 1928 (3 letters)
Gardner, Paul (William Rockhill Nelson Gallery of Art): 1936, 1938-1945, 1947-1950 (26 items including Christmas card with original print; see also Selected Gallery and Exhibition Files)
Gardner, Mrs. William (see Owen)
Garrett, Garet: 1928
Garrett, Alice (Mrs. John Work): 1938, 1939 (5 items, including Christmas card with original photograph)
Gates, Margaret (Studio House, Philips Memorial Gallery): 1935
Genauer, Emily (New York World Telegram): 1947
Gest, J.H. (Cincinnati Museum Association): 1928 (3 letters)
Gise, Margaret (Marie Harriman Gallery): 1938 (see also Selected Gallery and Exhibition Files and Provenance Files, "Girl in Shako" and "Guide")
Glackens, William and Edith: 1938
Glackens, Edith: 1938, 1941, 1943, 1949, 1950 (7 items, including outgoing letters of condolence when William Glackens died, and response from Edith with account of his last day)
Godwin, Black-More (Toledo Museum of Art): 1932 (2 letters)
Goodrich, Lloyd (Whitney Museum of American Art; see Provenance Files, "Man with Ship Model")
Goodyear, A. Conger: 1934, 1938, 1941, 1949 (5 letters; see also Selected Gallery and Exhibition Files, and Provenance Files, "Dryad" and "Man From Eden")
Goodyear, Mary (Mrs. A. Conger, also Mrs. John W. Ames): 1936-1942, 1947, 1949, 1954 (44 letters; see also Selected Gallery and Exhibition Files)
Grace Horne Galleries (see M.E. Brown, Littlefield; see also Selected Gallery and Exhibition Files)
Graham, John D.: 1937
Greason, Donald (Deerfield Academy): 1942 (discussing Harry Whitney)
Grossman, Ted (Edwin Booth): 1938, 1940, 1941, 1945, 1948, 1951, 1952 (13 letters; see also Selected Gallery and Exhibition Files)
Grumman, Paul H. (Joslyn Memorial Art Museum): 1943
Hagen, Oskar: 1938, 1939 (2 letters)
Hagerman, Percy (Colorado Springs Fine Arts Center): 1949
Hale, Dorothea: 1928
Hale, Robert B. (Metropolitan Museum of Art): 1950-1951 (2 letters)
Halpert, Edith (Downtown Gallery): 1927, 1928, 1929, 1930 (7 letters; New Year card 1928 printed with collage of Walt Kuhn)
Keppel, Frederick P. (Carnegie Corporation): 1938 (2 letters)
Kerr, George F. (Society of Illustrators): 1930 (2 letters)
Kimball, Fiske (The Pennsylvania Museum): 1928, 1939 (2 letters)
Kingman, Eugene (Joslyn Memorial Art Museum): 1951 (4 letters)
Kirsch, Dwight (University of Nebraska Department of Art): 1941, 1943-1944, 1946, 1950, 1953 (9 letters; see also Selected Gallery and Exhibition Files)
Kirstein, Lincoln (Museum of Modern Art): 1932
Kissel, Eleanora: 1928
Kistler, Aline ( -- San Francisco Chronicle -- , -- The San Franciscan -- , M.H. de Young Memorial Museum): 1929, 1930, 1932, 1933 (6 letters)
Klopfer, Donald S. (Random House, Inc.): 1940
Kohl, Dorothy (Philadelphia Art Alliance): 1945 (3 letters)
Komroff, Manuel: 1938
Kravis, Hal: 1936, 1941 (3 letters)
Kunstverein München E.V.: 1930
Kurtzworth, Harry Muir (Los Angeles Art Association, California Academy of the Fine Arts): 1938 (2 letters)
Lahr, Bert: 1948 (see also Provenance Files, "Portrait of Bert Lahr")
Labaudt, Lucien: 1929, 1933, 1936, 1937, 1938 (5 items including Christmas card; see also Selected Gallery and Exhibition Files)
Lamb, James E.: 1928, 1930, 1935, 1937 (4 letters)
Larcada, Dick: 1963
Laurent, John: 1947-1950, undated (12 letters; see also Selected Gallery and Exhibition Files)
Laurent, Mimi (Mrs. Robert): 1952
Laurent, Robert (Indiana University): 1923, 1949, 1953 (8 letters; see also Provenance Files, "Black Butterfly")
Lea, Lida Gorwin; 1935-1938, 1942 (8 letters, including Christmas card with original print; see also Selected Gallery and Exhibition Files)
Mencken, H.L.: 1945, 1946, 1947 (3 letters; see also Series 4.8: Notes and Writings)
Merrick, James Kirk (Philadelphia Art Alliance): 1945
Messer, Thomas M. (American Federation of Arts): 1952-1954 (5 letters)
Metcalf, Thomas N. (Boston Museum of Modern Art, Inc.): 1938, 1940 (2 letters)
Metropolitan Museum of Art: 1949, 1956 (5 letters; see also Hale, F.H. Taylor, Wehle)
Mellon, Minna (Mrs. Paul): 1946
Millay, Edna St. Vincent (typed copy): 1947 (see also Engen Boissevain in Selected Gallery and Exhibition Files)
Miller, Dorothy C. (Museum of Modern Art): 1943
Miller, Lulu F. (The Hackley Gallery of Fine Arts): 1928
Milliken, William M.: 1936 (2 letters)
Minnigerode, C. Powell (Corcoran Gallery of Art): 1928 (2 letters)
Montclair Art Museum: 1928, 1932 (2 letters)
Montgomery, Gertrude: 1928
More, Hermon (Whitney Museum of American Art): 1933, 1935, 1943, 1948-1950 (8 letters)
Morgan, Agnes: 1938
Morison, David (Hamilton Easter Field Art Foundation): 1930
Morley, Grace: 1936, 1937-1939, 1943 (11 letters; see also Selected Gallery and Exhibition Files)
Morse, John (see Provenance Files, "Man and Sea Beach")
Muguruza Otaño, Pedro: 1928
Museum of Art of Ogonquit: 1953 (see also Strater)
Museum of Modern Art (see Barr, Catlin, Haven, Hawkins, Kirstein, D. Miller, Pelles, A. Porter)
Nadelman, Viola M. (Mrs. Elie): 1947
Nankivell, Frank: 1934-1935 (Christmas cards with signed prints)
National Arts Club: 1932
Newhall, Beaumont (Museum of Modern Art): 1938
Nichols, Hobart (National Academy of Design): 1948
Nichols, J.C. (William Rockhill Nelson Trust): 1948
North, Henry Ringling (Ringling Brothers): 1941 (2 letters)
Norton Gallery and School of Art (see Hunter)
Norton, Ralph H. (Norton Gallery and School of Art): 1948
O'Connor, John Jr. (Carnegie Institute): 1943, 1945-1946, 1948 (8 letters)
Oldfield, Otis: 1928-1946, 1948-1949, 1951-1952, undated (111 letters; 1931, 1941, undated include Chritmas cards with print; see also Selected Gallery and Exhibition Files)
O'Neil, John (University of Oklahoma): 1946
Owen, Ronnie (Mrs. William Gardner): 1941-1942, 1944-1946, 1948-1949 (15 letters)
Owens, Virginia B.( -- Christian Science Monitor -- ): 1943 (2 letters)
Rumsey, Mary H. (Mrs. C.C.): 1930, 1934-1936, 1938, 1940, 1945, 1949, undated (11 items including Christmas card and receipts for paintings sold)
Ryan, Beatrice Judd (Beaux Arts Galerie): 1928, 1929 (4 letters)
Saint-Gaudens, Homer (Carnegie Institute): 1931, 1933, 1940, 1946-1949 (18 letters; see also Selected Gallery and Exhibition Files)
Saklatwalla, Ann: 1944-1945 (2 letters; see also Provenance Files, "Bareback Rider")
Saklatwalla, B.D.: 1928, 1930-1936, 1941 (2 letters, 7 Christmas cards containing prints, 1931 print signed Jean Crotti)
Salinger, Jehanne Bietry: 1928-1930, 1933, 1935, 1946-1948 (includes signed print by Harry Wickey; 17 letters)
Salons of America: 1923, 1924
Salpeter, Harry ( -- Esquire -- ): 1936-1938 (6 letters)
Sanborn, Robert Alden: 1945
Sands, Mary (Museum of Modern Art): 1930
Sanger, Helen: 1948-1950, 1953, 1963 (16 letters)
Sanger, Margaret (American Birth Control League, Inc.): 1928
Santa Barbara Museum of Art (see Bear, Steele, Story; see also Selected Gallery and Exhibition Files)
Santo, Patsy: 1937-1946, 1948-1949, 1953 (103 letters, some illustrated)
Sardi Gina, Anne (Marie Harriman Gallery): 1941-1942, 1947, 1949 (6 letters; see also Selected Gallery and Exhibition Files and Provenance Files, "Girl in Shako" and "Guide")
Schulte, Antoinette: 1932-1938 (8 items, including Christmas card with original print)
Seiberling, Frank Jr. (Toledo Museum of Art): 1943, 1946 (3 letters)
Seymour Halpern Associates: 1945
Shapiro, Meyer: 1938
Sharkey, Alice M. (Whitney Museum of American Art): 1944
Shaw, Marjorie: 1930 (Christmas card with woodblock print)
Sheeler, Charles: 1938 (See also Series 4.2: Walt Kuhn Letters to Family)
Shostac, Percy (Labor Division, Greater New York Fund): 1941
Shyrock, Burnett H.: 1938 (4 letters)
Siple, Walter H. (Cincinnati Art Museum): 1938, 1942, 1945 (4 letters)
Skeoch, Mary E.: 1934-1936, 1938 (8 letters)
Skira, Alfred: 1932 (5 letters; see also Selected Gallery and Exhibition Files, 1933)
Smith, Adele (Studio House, Philips Memorial Gallery, Museum of Modern Art Gallery of Washington): 1935, 1938, 1939 (5 letters; see also Selected Gallery and Exhibition Files)
Smith, Cecil: 1937-1938 (3 letters)
Smith, Gordon M. (Currier Gallery of Art): 1950
Smoluchowska, Donia (Arden Gallery, Marie Harriman Gallery): 1929, 1932 (3 letters; see also Selected Gallery and Exhibition Files)
Teigen, Peter (Princeton University School of Architecture): 1928, 1929 (2 letters)
Thayer, Ellen ( -- The Dial -- ): 1927, 1928 (2 letters)
Thompson, Mark B.: 1934, 1935, 1937 (3 letters; see also Selected Gallery and Exhibition Files)
Thorp, George G. (American Federation of Arts): 1947
Toledo Museum of Art (see Godwin, Rivière, Seiberling)
Toler, Sidney: 1941
Todd, Bianca: 1929, 1933, 1934 (3 items including Christmas cards with original prints)
Trovato, Joseph (Munson-Williams-Proctor-Institute): 1946, 1949 (2 letters)
Tucker, Allen: 1938
Turney, Winthrop: 1924
Tyson, Carroll: 1934
Underwood, Gilbert Stanley (architect): 1938, 1948 (5 letters)
Valentiner, Dr. W.R. (Detroit Institute of Arts): 1945
Valez, Dr. Xavier de: 1934
Venendi, Mario: 1949 (3 letters)
Vidar, Frede: 1936
Vreeland, Mr. and Mrs. Francis (Toby and Marion): 1934-1938 (6 letters)
Wadsworth, Alice (Mrs. James W.): 1940, 1941, 1942, 1945 (8 letters)
Waida, Robert: 1928
Waldron, James M. K. (Reading Public Museum and Art Gallery): 1936, 1937, 1961 (3 letters)
Walker, Maynard: 1946, 1948-1949, 1951-1952, 1955, 1961 (10 letters; see also Selected Gallery and Exhibition Files and Provenance Files, "Guide" and "Veteran Acrobat")
Ward, William: 1949
Washburn, Gordon B. (Rhode Island School of Design Museum of Art): 1945
Watkins, C. Law (Studio House, Phillips Memorial Gallery): 1933 (2 letters)
Watson, John (for John Quinn): 1914, 1921 (2 letters), 1938
Whitney, Harry: 1942 (see also Greason and Selected Gallery and Exhibition Files)
Whitney Studio Galleries (see also Force): 1929
Whitney Museum of American Art (see Force, Free, More, Freeman, Sharkey, Goodrich)
Wilder, Mitchell A. (Colorado Springs): 1946-1953 (75 letters; see also Selected Gallery and Exhibition Files)
Wilenski, R.H.: 1938, 1939, 1945-1946 (8 letters)
Williams, Adele (Women's club of Richmond): 1930
Williamson, Ada (Philadelphia Art Alliance): 1927, 1928, 1945, 1949 (19 letters; see also Selected Gallery and Exhibition Files)
Wilmington Society of the Fine Arts (see Bissell)
Wilson, Henry J.: 1950
Winser, Beatrice: 1935, 1940 (7 letters)
Woelfle, Arthur M.: 1914 (see also Selected Gallery and Exhibition Files)
Woelfle, Georgiana: 1936, 1937, 1963 (3 letters)
Wood, Stanley: 1928
Zayas, Marius de: 1934, 1939, 1947, 1948 (10 letters)
Zügel, Heinrich von: 1904
Collection 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.
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Collection 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.
Roberts, Colette Jacqueline, 1910-1971 Search this
Type:
Sound Recording
Date:
1966
Citation:
Erwin S. Barrie and Colette Jacqueline Roberts. Interview with Erwin S. Barrie, 1966. Colette Roberts Papers and Interviews with Artists, 1918-1971. Archives of American Art, Smithsonian Institution.