The collection is open for research. Use requires an appointment.
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:
Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Foundation.
The collection is open for research. Use requires an appointment.
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:
Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Foundation.
20 Linear feet ((partially microfilmed on 10 reels))
Type:
Collection descriptions
Archival materials
Date:
1920-1982
Scope and Contents:
Correspondence; biographical material; artists files; files on organizations; business and financial records; photographs; writings and notes; diaries; scrapbooks; appointment calendars; exhibition catalogs and announcements; printed material; and miscellany.
REELS D351-D358: Biographical material; personal and business correspondence with family, artists, museums, and art organizations; 62 artists files containing photos of works of art, printed material, and correspondence; files on the American Federation of the Arts, Artists Equity Association, the Walker Foundation, and other organizations; business and financial records; material relating to Walker's work with Elizabeth McCausland in her studies of Marsden Hartley; printed material; and photos of Walker, his family, and miscellaneous works of art. Among the correspondents are: Berenice Abbott, Ben Benn, Theodore Brenson, Gene Charlton, Philip Evergood, Joseph Hirsch, Mervin Jules, Carl Sprinchorn, Harry Sternberg, and others.
REEL 130: Correspondence with Eugenia M. Fuerstenberg, Oct. 8, 1940-Sept. 25, 1941, concerning the consignment and sale of ca. 400 Alfred Maurer paintings owned by Mrs. Fuerstenberg. One letter is from Parke-Bernet Galleries, declining to handle the paintings.
REEL 1535: 4 volumes of a diary, 1929, 1930, 1942, and 1945. The first two volumes were kept while Walker was a graduate student at Harvard, the 1942 volume covers exhibitions and artists, including Marsden Hartley, and the 1945 volume details Walker's travels in Europe after World War II. Also included are 7 letters, a valentine, and two post cards from his wife, Ione G. Walker, and a 1967 letter from Hans van Weeren-Griek.
UNMICROFILMED: Correspondence with Henry Botkin, Philip Evergood, Susan Fuller, Marsden Hartley, Harry Sternberg and other artists and gallery directors; letters and poems by Harry Kemp, 1948-1955; essays by Walker on Joshua B. Cahn and Marsden Hartley; a report on the Walker Art Center by William Valentiner, 1930; notes from meetings, galleries and art associations; a silk screen by Seong Moy; financial records; 2 diaries, 1938-1939; 2 appointment calendars, 1950-1951; 8 school notebooks; 3 scrapbooks; exhibition catalogs; clippings; and photos of Walker and artists Cameron Booth, Byron Browne, Gladys Rockmore Davis, Carl Gaertner, Dorothea Greenbaum, Mervin Jules, Herman Maril, Dickson Reeder, Henry Schnakenberg, Miron Sokole, Harry Sternberg, Jean Tingley and Clifford West.
Biographical / Historical:
Collector and administrator; New York, N.Y.; d. 1976.
Provenance:
Material on reels D351-D358 & unmicrofilmed donated 1966-1982 by Hudson D. and Ione G. Walker; material on reel 1535 lent for microfilming 1979 by Ione G. Walker, widow of Walker; material on reel 130 donor unspecified.
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.
Occupation:
Administrators -- New York (State) -- New York Search this
Topic:
Art -- Collectors and collecting -- New York (State) -- New York Search this
Primarily letters to Helen Stein from Marsden Hartley, with typed transcriptions and 25 typed pages of anecdotes about Hartley, probably written by Stein. The letters provide intimate information about Hartley's activities, interests, and state of mind for the last 9 years of his life, revealing his thoughts about artists, dealers, artistic styles, critics, and describing his progress in painting and in sales of his paintings. (Included with a letter of September 10, 1939 is a snapshot of Hartley.) Similar information is included in the anecdotes, which recount Hartley's comments on many topics.
There are also catalogs for exhibitions of Hartley's work, a press review, and a letter from Stein to Paul Rosenberg in which she mentions the Hartley letters.
Biographical / Historical:
Painter. Born Helen Steinberg in Odessa, Russia, Stein came to the United States at the age of two. She studied at the Art Students League with Max Weber and at Cooper Union. Her benefactor, Sir Michael Crozer-Gielberg, commissioned Le Corbusier to design a studio for her in Paris (1927-29). She met Marsden Hartley, who greatly admired her work, ca. 1930, and painted him ca. 1932. They were close friends for the last ten years of his life.
Provenance:
The papers were gathered and donated by Jay Friedline, a friend of Stein and Hartley, 1988.
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.
The papers of sculptor Arnold Rönnebeck and painter Louise Emerson Ronnebeck measure 4.24 linear feet and date from 1884-2002. The collection contains biographical material, family and professional correspondence, sketches and drawings, writings, a scrapbook, and printed material. There are also numerous photographic prints, copy prints, negatives, and 7 glass plate negatives of the Rönnebecks and their artwork, travels, family, and friends, including Charles Demuth, Marsden Hartley, Alfred Stieglitz, and Tony Luhan.
Scope and Content Note:
The papers of sculptor Arnold Rönnebeck and painter Louise Emerson Ronnebeck measure 4.24 linear feet and date from 1884-2002. The collection contains biographical material, family and professional correspondence, sketches and drawings, writings, a scrapbook, and printed material. There are also numerous photographic prints, copy prints, negatives, and 7 glass plate negatives of the Rönnebecks and their artwork, travels, family, and friends, including Charles Demuth, Marsden Hartley, Alfred Stieglitz, and Tony Luhan.
Biographical materials include articles on the Rönnebecks by Betsy Fahlman, curriculum vitae, and documentation on the Emerson family. Correspondence is primarily between Arnold Rönnebeck to Louise, and also includes letters in German to Arnold's sister Irmgard Rönnebeck. Among the professional and personal correspondence from friends and family to both of the Rönnebecks are letters from Kenneth Hayes Miller to Louise Ronnebeck.
Writings include essay drafts, notes, and poetry by the Rönnebecks, including Arnold Rönnebeck's "Paint-As-You-Go Plan." There is a scrapbook of clippings covering Louise Ronnebeck's work. Additional printed material includes Christmas cards, clippings, and exhibition announcements and catalogs of both the Rönnebecks' work. Artwork consists of drawings and sketches by Arnold Rönnebeck.
Photographic materials include photographs of the Rönnebecks and their travels to Arizona, Colorado, New Mexico, New York, and Europe. The series also contains photos, copy prints, negatives, and 7 glass plate negatives of artist friends, and formal and informal documentation of their works of art and public and private art commissions.
Arrangement:
The collection is arranged as 7 series.
Missing Title
Series 1: Biographical Materials, 1926-2002 (9 folders; Box 1, OV 7)
Series 2: Correspondence, 1909-1998 (0.6 linear feet; Box 1, 5)
Series 3: Writings, 1920-1944 (6 folders; Box 1, 5)
Series 4: Scrapbook, 1926-1966 (1 folder; Box 1)
Series 5: Printed Material, 1923-1999 (0.5 linear feet; Box 1-2)
Series 6: Artwork, 1915-1950 (2 folders; Box 2, 5)
Series 7: Photographic Materials, 1884-1976 (2.6 linear feet; Box 2-6)
Biographical Note:
Sculptor Arnold Rönnebeck (1885-1947) was part of the "Stieglitz circle" and settled in Denver where he served as director of the Denver Art Museum from 1926-1931. Rönnebeck married Louise Emerson (1901-1980) in 1926. Emerson was a painter and muralist who worked on New Deal mural commissions in Colorado and Wyoming.
Arnold Rönnebeck was born in Nassau, Germany and was a noted sculptor and lithographer. From 1905 to 1907, Rönnebeck studied architecture at the Royal Art School in Berlin and spent a year studying sculpture in Munich. In 1908, he moved to Paris where he furthered his studies in sculpture under Aristede Maillol and Emile Bourdelle. From 1914 to 1918, Rönnebeck served as an officer in the German Imperial Army during World War I. In 1923, he emigrated to the United States where he became part of the Stieglitz circle.
In 1925, Rönnebeck visited Mabel Dodge Luhan at her ranch in Taos, New Mexico, where he met his future wife, the painter Louise Emerson, born Mary Louise Harrington Emerson in 1901. After their marriage, the Rönnebecks lived in Denver where Arnold Rönnebeck worked as director of the Denver Art Museum and continued to execute commissioned works, including bas reliefs, portrait busts, and sculptures. He died in Denver, Colorado in 1947. Throughout the 1950s and 1960s, Louise Emerson Ronnebeck continued to receive commissions for frescoes and murals in Colorado and Bermuda and died in Denver, Colorado in 1980.
Related Material:
Correspondence between Arnold Rönnebeck and Alfred Stieglitz and Marsden Hartley is located at the Beinecke Rare Book and Manuscript Library at Yale University.
Provenance:
The papers were donated in 2001 by Ursula Moore Works and Arnold Rönnebeck, the artists' daughter and son.
Restrictions:
Use of original papers requires an appointment.
Rights:
The 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.
Arnold Rönnebeck and Louise Emerson Ronnebeck papers, 1884-2002. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
Biographical material and personal documents; correspondence; notebooks and notes for Sprinchorn's autobiography; notes and drafts for 100 ARTISTS PLUS; a file on Rex Slinkard containing writings by Slinkard's mother, correspondence, photos of works of art, and miscellaneous printed material; miscellaneous writings by Sprinchorn and others; writings about Sprinchorn and Slinkard by Marsden Hartley; sketches; an exhibition and sales file; photos of Sprinchorn, his friends and colleagues; photos of Santo Domingo; and miscellaneous printed material.
Correspondents include Polly Scribner Ames, Oscar Bluemner, Nick Brigante, Christian Brinton, Kenneth Burke, Robert Burlingame, Royal Cortissoz, Helen Crommett, E. E. Cummings, Florence and Gertie Dreyfous, Kathryn Freeman, Edith Halpert, Marsden Hartley, Robert Henri, Laura Hersloff, Mary Safford Hoogewerff, Jo Hopper, Robert M. Jackson, Wolf Kahn, Rockwell Kent, Maxine Kumin, Adelaide Kuntz, Isabel Lachaise, Amy Londoner, Elizabeth McCausland, Marianne Moore, Sidney Osborne, Walter Pach, Georgette Passedoit, Edna Perkins, Duncan Phillips, Elizabeth Sparhawk-Jones, Ettie Stettheimer, Frank V. Tompkins, Hudson Walker, Abraham Walkowitz, Henry Wells, Florence and Gladys Williams, Claggett Wilson, and Katie Young.
Biographical / Historical:
Painter; Shin Pond, Me. and New York, N.Y.
Provenance:
Lent for microfilming 1983 by Fogler Library, University of Maine.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Painters -- New York (State) -- New York Search this
Zorach, William, 1887-1966 -- Photographs Search this
Extent:
1.4 Linear feet ((microfilmed on 3 reels))
Type:
Collection descriptions
Archival materials
Date:
1926-1950
Scope and Contents:
Photographs of artists and art works taken by Lynes.
REEL 57: A photograph album, 1926-1942, containing photos of paintings and drawings in Lynes's collection. Paul Cadmus, Jared French, Marsden Hartley, Paul Klee, Pierre Roy, Pavel Tchelitchew, and Yves Tanguy are represented.
REEL 2077: Fifteen photographs of Marsden Hartley, February 4, 1943, and printed posthumously.
Biographical / Historical:
George Platt Lynes (1907-1955) was a photographer from New York, N.Y. Best known for his portraits of Hollywood stars, ballet dancers, writers, and male nudes.
Provenance:
Material on reel 57 lent for microfilming 1971 by Russell Lynes, brother of George Platt Lynes; material on reels 153 & 2077 donated 1967-1971 by Russell Lynes.
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.
Reel 57: ACCESS RESTRICTED: written permission required.
Rights:
Reels 153 and 2077: Authorization to publish or reproduce requires written permission from Joshua Lynes. Credit should include Copyright Estate of George Platt Lynes. Contact Reference Services for more information.
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:
Photographers -- New York (State) -- New York Search this
Topic:
Photography, Modern -- 20th century -- New York (State) -- New York Search this
Biographical material; correspondence with friends and colleagues, including Charles W. Green, Marsden Hartley, Homer Eaton Keyes, John Kieran, Ruth Webb Lee, James Roosevelt, Francis Henry Taylor, Bradford Washburn and others; subject files, including one on Castano Galleries in Boston; lecture notes; writings, including typescripts and drafts for the Museum of Fine Arts, Boston, the Fogg Museum, and the Christian Science Monitor; a typescript of an article by James Duncan Phillips; printed materials; photographs of Dooley and of the U.S. Army's recovery of art objects form the Berlin Museum in 1945; and ephemera.
Biographical / Historical:
Art critic, writer and educator; Cambridge, Mass. Was the associate editor and art critic for the Boston Transcript; wrote extensively for other publications. Headed the Division of Education at the Museum of Fine Arts, Boston and founded the Pewter Collectors Society.
Provenance:
Donated 1975 and 1981 by Mrs. William G. Dooley.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Art critics -- Massachusetts -- Boston Search this
Found here is Andrew Dasburg's extensive correspondence which spans over seventy years, documenting both his personal and professional life. One third of the correspondence is between Dasburg and his first wife, Grace Mott Johnson. most of which was written during their marriage. These candid letters discuss daily activities, social events, travels, including Dasburg's time in Paris in 1910 and trip to Europe in 1914, news of mutual friends, artwork, and problems with their relationship.
Also found is Dasburg's correspondence with his second wife, Nancy Lane around the time of their marriage in 1928, and correspondence with his third wife, Marina Wister Dasburg during the periods that she visited her family in Pennsylvania; most of these letters are written by Marina. Dasburg's correspondence with his son, Alfred, consists of brief letters sharing news of their travels, family, and personal matters.
General correspondence primarily consists of Dasburg's correspondence with other family members, friends, colleagues, scholars, universities, and galleries. Where they exist, Dasburg's outgoing letters are interfiled with letters he received in a chronological arrangement. Dasburg was friends with many artists who, like him, were part of regional art colonies in Taos and Santa Fe, New Mexico, and Woodstock, New York. He also maintained friendships with artists he met in Europe and other travels and at the Art Students' League. Correspondents includes Kenneth Adams, Thomas Hart Benton, George Biddle, Dorothy Brett, Alexander Brook, Lucienne Chinard Clemens, Howard Cook, Russell Cowles, Vida Hunt Francis, Lewis Garrison, Marsden Hartley, Norbert Heerman, Richard Hollander, Lila Wheelock Howard, Charles Kassler, Mary Aubrey Keating, Carl Eric Lindin, Ward Lockwood, Erle Loran, Hayes Lyon, Henry Lee McFee, John Gaw Meem, Loren Mozley, Dickson Reeder, Louis Ribak, Paul Rohland, Alfred Stieglitz, Earl Stroh, Carl Van Vechten, Alice Morgan Wright, and Stanton Macdonald-Wright, among many others. Dasburg also corresponded with many former students including Edwin Gamble, Willard Nash, Alice Naylor, and Earl Stroh. Also found are letters from writers John Howard Griffin, Witter Bynner and Miriam Hapgood De Witt as well as art critics and historians such as Robert M. Coates, Oliver Larkin, and Stanley Lothrop. Dasburg maintained extensive correspondence with close friend, art patron and Taos resident, Mabel Dodge Luhan.
A small amount of correspondence with galleries, universities, museums, curators, and scholars concerns exhibitions, sales, or research. Additional topics found within his correspondence are American Indian rights in New Mexico and his medical treatment for Addison's disease.
See Appendix A for a list of correspondents from Series 1.2.
Appendix A: Correspondents from Series 1.2: Andrew Dasburg Papers, General Correspondence:
The collection has been digitized and is available online via AAA's website.
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:
Andrew Dasburg and Grace Mott Johnson papers, 1833-1980 (bulk 1900-1980). 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.
6.6 Linear feet ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Date:
1920-1979
Scope and Contents:
Correspondence; scrapbooks; photographs; clippings; and catalogs, much of it relating to Marsden Hartley.
REEL 1708: 3 letters from Mardsen Hartley; Chidsey's correspondence with Elizabeth McCausland, Martha Jackson, E. Weyhe, Inc., Frank Noyes, Sanford Schwartz, and others regarding the Marsden Hartley Estate; appraisals and price lists of paintings; clippings; a photograph of Marsden Hartley by Alfred Steiglitz, and another of Hartley in France.
REEL N69-115: Photographs of Hartley paintings, 1908-1943, identified by their 1944 location (Rosenberg, Knoedler, or Lincoln warehouse) and, in some cases, their subsequent date of sale, purchaser, price, and estate number, going as late as 1969. A note by Alan Chidsey indicates that many of the paintings were sold before Hartley's estate was inventoried in 1951.
UNMICROFILMED: 5,800 clippings concerning twentieth century American artists; 18 Parke-Bernet auction catalogs; and 3 scrapbooks, entitled "Artists and Models," containing cartoon clippings.
Biographical / Historical:
Book dealer and lawyer; Plandom, N.Y. Chidsey served as trustee to the Marsden Hartley estate.
Provenance:
Donated 1979 by Alan G. Chidsey.
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.
The papers of abstract painter Milton Avery measure 2.8 linear feet and date from 1926 to 1982, with the bulk of the collection dating from 1950 to 1982. Almost the entire collection consists of records of the Milton Avery Trust (2.4 linear feet) maintained by Avery's wife Sally, who served as a trustee. Milton Avery's business and personal correspondence (five folders) contains letters from friends and fellow artists, including a few from George Duthuit, Louis Eilshemius, Marsden Hartley, Wallace Putnam, and Mark Rothko. Also found are scattered writings about Avery, price lists, estate records, exhibition announcements and catalogs, and news clippings.
Scope and Content Note:
The papers of abstract painter Milton Avery measure 2.8 linear feet and date from 1926 to 1982, with the bulk of the collection dating from 1950 to 1982. Almost the entire collection consists of business files maintained by Milton Avery's wife Sally as a trustee for the Milton Avery Trust (2.4 linear feet). Milton Avery's business and personal correspondence (five folders) contains letters from friends and fellow artists, including a few from George Duthuit, Louis Eilshemius, Marsden Hartley, Wallace Putnam, and Mark Rothko. Also found are scattered writings about Avery, price lists, estate records, exhibition announcements and catalogs, and news clippings.
Arrangement:
The collection is arranged into 7 series:
Missing Title
Series 1: Biographical Material, 1964, 1975 (Box 1; 1 folder)
Series 2: Correspondence, 1935-1981 (Box 1; 10 folders)
Series 3: Subject Files, 1950-1981 (Box 1-4; 2.4 linear feet)
Series 4: Writings, circa 1951-1979 (Box 4; 5 folders)
Series 6: Printed Material, 1926, 1962-1977 (Box 4; 4 folders)
Series 7: Photographs, circa 1970 (Box 4; 1 folder)
Biographical Note:
Milton Avery (1885-1965) was born in Altmar, New York and grew up in Hartford, Connecticut. Around 1905 he began attending the Connecticut League of Art Students in Hartford where he studied life drawing while also working full-time as a factory worker and file clerk. In 1915 he had his first public exhibition and, in 1918, transferred to the School of Art Society in Hartford. In 1924 he met Sally Michel (1905-2003), a student at the Art Students League in New York, and moved to New York City to be closer to her. They married one year later. Around this time Avery also altered his year of birth to 1893, perhaps due to the age difference between him and Sally. After their marriage Sally worked as an illustrator so that Avery could paint full time.
During the early 1920s, Avery's works were traditional figurative and genre subjects, influenced by American Impressionism. By the mid 1920s, with his move to New York, Avery began to simplify his forms and use broader expanses of flat color. Although his paintings became increasingly abstract, he never fully abandoned representational subject matter, painting figure groups, still lifes, landscapes, and seascapes. By the mid-1940s, Avery's work was characterized by a reduction of elements and elimination of detail, filled with an emphasis on arbitrary color.
Avery exhibited in a group show at The Opportunity Gallery in 1928 which also featured Mark Rothko and the two became close friends. He became friends with many other artists including Adolph Gottlieb, Barnett Newman, and Marsden Hartley. Avery's color work was an important influence on many younger artists, particularly Mark Rothko, Adolph Gottlieb, Barnett Newman, Helen Frankenthaler, and other Color Field painters. The Phillips Collection in Washington, D.C. was the first museum to purchase one of his paintings in 1929 and to give him his first solo museum exhibition in 1944.
In 1949 Milton Avery suffered a major heart attack and began making monotypes during his recovery. He returned to painting despite periods of ill-health, and his reputation grew rapidly over the next ten years, culminating in a retrospective at the Whitney Museum of American Art in New York in 1960. He also exhibited along with his wife Sally Avery and their daughter, March Avery Cavanaugh (born in 1932), both of whom were also painters. Avery died in 1965 and left behind an oeuvre of paintings that numbers in the thousands. His wife Sally managed his estate and the sale of his works to many major museums, and served as a trustee for the Milton Avery Trust until her death in 2003.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reels N68-95, N68-115, N69-63, and 2535 including six scrapbooks, a sketchbook, Christmas cards, exhibition catalogs, and photographs. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The Milton Avery papers were donated in 1968, 1969, and 1982 by his widow Sally Avery, including a few letters previously loaned for microfilming.
Restrictions:
The collection has been digitized and is available online via the Archives of American Art's website.
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.
Typed manuscript "Marsden Hartley in Maine (through the eyes of Katie Young of Corea, Maine)." 12 drawings, 8 in pencil and 4 in watercolor, illustrate the manuscript. The drawings mostly illustrate the house and town in Maine where Hartley spent the last years of his life. 11 drawings are titled and one is signed: Scribner Ames. Archives also owns a copy of the published work, inscribed by Ames to former curator Garnett McCoy (not microfilmed).
Biographical / Historical:
Painter, illustrator.
Provenance:
Donated 1959 by Polly Scribner Ames.
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.
Files relating to a series of traveling art exhibitions sponsored by the AAUW, 1949-1952, containing material on artists Walter Anderson, Marsden Hartley, Jacob Lawrence, John Rood, David Smith and others.
Biographical / Historical:
Based in Washington, D.C.
Related Materials:
American Association of University Women papers also at Syracuse University.
Provenance:
Donated 1960-1962 by the American Association of University Women.
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.
Bulliet, C. J. (Clarence Joseph), 1883-1952 Search this
Container:
Box 12, Folder 160
Type:
Archival materials
Date:
circa 1888-1959
Collection Restrictions:
Use of original papers requires an appointment.
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:
The C. J. Bulliet papers, circa 1888-1959. Archives of American Art, Smithsonian Institution.
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.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
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.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
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:
Eva Lee Gallery records, 1921-1973. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Terra Foundation for American Art.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
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:
Eva Lee Gallery records, 1921-1973. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Terra Foundation for American Art.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
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:
Elizabeth McCausland papers, 1838-1995, bulk 1920-1960. 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
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
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:
Elizabeth McCausland papers, 1838-1995, bulk 1920-1960. 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
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
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:
Elizabeth McCausland papers, 1838-1995, bulk 1920-1960. 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