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Downtown Gallery records

Creator:
Downtown Gallery  Search this
Names:
American Folk Art Gallery  Search this
Boris Mirski Gallery (Boston, Mass.)  Search this
Ernest Brown & Phillips  Search this
Our Gallery (New York, N.Y.)  Search this
Breinin, Raymond, 1910-  Search this
Broderson, Morris, 1928-2011  Search this
Brook, Alexander, 1898-1980  Search this
Burlin, Paul, 1886-1969  Search this
Cahill, Holger, 1887-1960  Search this
Carlen, Robert, 1906-1990  Search this
Cikovsky, Nicolai, 1894-  Search this
Coleman, Glenn O., 1887-1932  Search this
Crawford, Ralston, 1906-1978  Search this
Davis, Stuart, 1892-1964  Search this
Demuth, Charles, 1883-1935  Search this
Doi, Isami, 1903-1965  Search this
Dole, William, 1917-  Search this
Dove, Arthur Garfield, 1880-1946  Search this
Felix Landau Gallery  Search this
Fredenthal, David, 1914-1958  Search this
Garbisch, Edgar  Search this
Guglielmi, Louis, 1906-1956  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Halpert, Samuel, 1884-1930  Search this
Harnett, William Michael, 1848-1892  Search this
Hart, George Overbury, 1868-1933  Search this
Hartley, Marsden, 1877-1943  Search this
Karfiol, George  Search this
Karolik, Maxim  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Lane, William H.  Search this
Laurent, Robert, 1890-1970  Search this
Lawrence, Jacob, 1917-2000  Search this
Lea, Wesley  Search this
Levi, Julian E. (Julian Edwin), 1900-1982  Search this
Levine, Jack, 1915-2010  Search this
Lewandowski, Edmund, 1914-  Search this
Marin, John, 1870-1953  Search this
Morris, George L. K., 1905-  Search this
Nakian, Reuben, 1897-1986  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Osborn, Robert Chesley, 1904-1994  Search this
Pascin, Jules, 1885-1930  Search this
Pattison, Abbott L. (Abbott Lawrence), 1916-1999  Search this
Pippin, Horace, 1888-1946  Search this
Pollet, Joseph C., 1897-1979  Search this
Rattner, Abraham  Search this
Rockefeller, Abby Aldrich  Search this
Saklatwalla, Beram K.  Search this
Shahn, Ben, 1898-1969  Search this
Sheeler, Charles, 1883-1965  Search this
Siporin, Mitchell, 1910-1976  Search this
Spencer, Niles, 1893-1952  Search this
Stasack, Edward  Search this
Steichen, Edward, 1879-1973  Search this
Steig, William, 1907-  Search this
Stella, Joseph, 1877-1946  Search this
Stieglitz, Alfred, 1864-1946  Search this
Storrs, John Henry Bradley, 1885-1956  Search this
Tam, Reuben  Search this
Tannahill, Robert Hudson  Search this
Tseng, Yu-ho, 1924-  Search this
Varian, Dorothy, 1895-1985  Search this
Walters, Carl, 1883-1955  Search this
Webb, Electra Havemeyer  Search this
Weber, Max, 1881-1961  Search this
Wilde, Isabel Carleton, 1877?-1951  Search this
Zajac, Jack, 1929-  Search this
Zerbe, Karl, 1903-1972  Search this
Zorach, Marguerite, 1887-1968  Search this
Zorach, William, 1887-1966  Search this
Photographer:
Adams, Ansel, 1902-1984  Search this
Bry, Doris  Search this
Karfiol, Bernard, 1886-1952  Search this
Klein, Carl  Search this
Maya, Otto  Search this
Newman, Arnold, 1918-2006  Search this
Ray, Man, 1890-1976  Search this
Reynal, Kay Bell, 1905-1977  Search this
Siegel, Adrian  Search this
Sunami, Soichi, 1885-1971  Search this
Valente, Alfredo  Search this
Van Vechten, Carl, 1880-1964  Search this
Yavno, Max  Search this
Extent:
109.56 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Photographs
Motion pictures (visual works)
Date:
1824-1974
bulk 1926-1969
Summary:
The records of the Downtown Gallery date from 1824 to 1974 (bulk 1926-1969) and measure 109.56 linear feet. The records present a comprehensive portrait of a significant commercial gallery that operated as a successful business for more than forty years, representing major contemporary American artists and engendering appreciation for early American folk art. There is an unprocessed addition to this collection dating circa 1970 of a single financial/legal document.
Scope and Content Note:
The Downtown Gallery records constitute 109.56 linear feet on 167 reels of microfilm. The records are dated 1824 to 1974 with bulk dates from 1926 to 1969. There is an unprocessed addition to this collection dating circa 1970 of a single financial/legal document.

The Downtown Gallery was established in 1926 as Our Gallery and operated under the name Downtown Gallery from 1927 until 1973. Nineteenth-century material consists of items acquired by Edith Gregor Halpert for research purposes or to document works of art in the gallery's inventory. The few records postdating the closing of the gallery relate to the estate of Edith Gregor Halpert.

The extensive records of the Downtown Gallery present a comprehensive portrait of a significant commercial gallery that operated as a successful business for more than forty years, representing major contemporary American artists and engendering appreciation for early American folk art. Edith Halpert, the gallery's founder and director, was an influential force in the American art world for a large part of the twentieth century.

Personal papers are intermingled with the business records of the Downtown Gallery. Many of the artists represented by the gallery were Halpert's personal friends, and over the years she developed social relationships and friendships with many clients. These relationships are reflected by the contents of the records, especially the correspondence, some of which is purely personal. In addition, there are a small number of letters from relatives, photographs of Halpert's family, home and friends, and limited information about her country house and personal finances.

The Downtown Gallery records consist largely of correspondence with collectors, including Edgar and Bernice Chrysler Garbisch, Preston Harrison, Mr. and Mrs. Maxim Karolik, William H. Lane, Abby Aldrich Rockefeller, Beram K. Saklatwalla, Robert Tannahill, and Electra Havemeyer Webb; with dealers, including robert Carlen, Landau Gallery, Leicester Galleries, Mirski Gallery, and Isabel Carleton Wilde; and with large numbers of curators and museum directors, including many affiliated with university museums. In addition, there is correspondence concerning routine gallery business and administrative affairs.

Artist files and an extensive series of notebooks (American Folk Art Gallery notebooks, artist notebooks, and publicity notebooks) compiled by gallery staff contain a wide variety of material and are a rich source of information about individual artists and the Downtown Gallery's exhibition history.

Business records include exhibition records, stock records, sales records, transit records, financial records, lists of artwork and clients, legal documents, minutes, insurance records, research files, and architectural plans.

Writings by Edith Gregor Halpert consist of articles on American folk art, speeches, and short stories; also included are her school notebooks and "Daily Thoughtlets" compiled at age seventeen. All writings by other authors are on art subjects, and most are texts or introductions for exhibition catalogs.

Among the miscellaneous records are biographical material on Edith Gregor Halpert and Samuel Halpert, works of art by Edith Gregor Halpert and other artists, artifacts, and audiovisual materials. The artifacts include wooden weather vane molds and supporting documentation as well as awards presented to Halpert. Audiovisual materials are 16-mm motion picture films of the Westinghouse Broadcasting Corporation television series, America: The Artist's Eye, produced between 1961 and 1963 in association with Jensen Productions. An additional 16-mm motion picture film includes "tails out" footage of Charles Sheeler at home and at work, circa 1950. A copy of the program about Sheeler, along with the "tails out" material, is also on videocassette. In addition, there is a sound recording of a talk on collecting given by Halpert's client, folk art collector Maxim Karolik, in 1962.

Printed matter consists of items produced by the Downtown Gallery, including exhibition catalogs, checklists, invitations, announcements, and press releases. There are also news clippings about Halpert, the Downtown Gallery, and the Edith Gregor Halpert Collection; other art-related clippings are arranged topically. Miscellaneous printed matter not produced by the Downtown Gallery includes newsletters, press releases, publications of art organizations, and reproductions of artwork. A selection of twenty-five volumes from the personal library of Edith Gregor Halpert has been retained.

The photographs series includes images of people: Edith Gregor Halpert, family, friends, also many images of her dog, Adam, and views of her country home in Newtown, Connecticut. Other photographs of people include portraits of artists, most of whom were affiliated with the Downtown Gallery. There are also photographs of works of art (with a large number of black-and-white negatives, 35-mm color slides, and glass plate negatives) and of exhibitions, of the exterior and interior of the Downtown Gallery, and of an award presented to Halpert.

See Appendix B for a chronological list of Downtown Gallery exhibitions.
Arrangement:
It is not certain how well arranged the files were while still the property of the gallery, though Halpert's background as an efficiency expert and her talents as an organizer suggest that the gallery's records were well maintained. It is clear, however, that much of the original order has been lost; Halpert is known to have removed files, including many records concerning the Harnett-Peto controversy.

Correspondence (Series 1) is arranged chronologically, and Artist Files (Series 2) is arranged alphabetically. The remaining series are organized into subseries that reflect either a function or specific record type, and the arrangement of each is explained in the detailed series descriptions. Glass plate negatives are housed separately and closed to researchers.

The Downtown Gallery records are arranged into eight series:

Series 1: Correspondence, 1926-1974, undated (Boxes 1-22; 22 linear ft.; Reels 5488-5545)

Series 2: Artist Files, A - Z, 1917-1970, undated (Boxes 23-27; 5 linear ft.; Reels 5545-5558)

Series 3: Notebooks, 1835, 1874, circa 1880-1969, undated (Boxes 28-59; 32.5 linear ft.; Reels 5558-5603)

Series 4: Business Records, 1925-1974, undated (Boxes 60-94, OV 95, OV 96, OV 97; 34.5 linear ft.; Reels 5603-5636)

Series 5: Writings, 1917-1968, undated (Box 98; 1 linear ft.; Reels 5636-5638)

Series 6: Miscellaneous Material, circa 1835, 1883, 1913-1970, undated (Boxes 99-101, 103, OV 102, OV 104, FC 120-124; 3.25 linear ft.; Reels 5638-5639)

Series 7: Printed Matter, 1824-1865, 1920-1969, undated (Boxes 105-108; 4 linear ft.; Reels 5640-5647)

Series 8: Photographs, circa 1880-1960s, undated (Boxes 109-118, OV 119, MGP 4; 8.75 linear ft.; Reels 5647-5654)
Historical Note:
As a very young woman, Edith Gregor Halpert (1900-1970) attended art school sporadically while pursuing a business career that began in advertising and included work as a personnel manager and efficiency expert. She continued her business career after marrying artist Samuel Halpert (1884-1930) in 1918 and eventually became a highly paid executive with an investment firm. Well-invested bonuses provided the capital for Halpert to open her own business.

In November 1926, Halpert and business partner Berthe (Bea) Kroll Goldsmith opened Our Gallery at 113 West 13th Street for the purpose of promoting a group of progressive American artists, many of whom were friends of Edith and Samuel Halpert. The following year, at the suggestion of William Zorach, the gallery changed its name to Downtown Gallery--emphasizing its Greenwich Village location, unique for the time--and the name survived despite relocation to midtown Manhattan (to 43 East 51st Street in 1940, to 32 East 51st Street in 1945, and to the Ritz Tower Concourse at 465 Park Avenue in 1965).

The Downtown Gallery specialized in contemporary American art. An early gallery brochure states: "The Downtown Gallery has no prejudice for any one school. Its selection is driven by quality--by what is enduring--not by what is in vogue." Some of the artists affiliated with the Downtown Gallery from its early years were Stuart Davis, "Pop" Hart, Yasuo Kuniyoshi, Charles Sheeler, Max Weber, and William and Marguerite Zorach. In its original location, the gallery served as a place where artists (many of whom lived and worked in the neighborhood), collectors, and others interested in American art met in the evenings for coffee, conversation, and sometimes lectures or other formal programs. Holger Cahill (1887-1960) entered into a partnership with Halpert and Goldsmith in 1929 when they founded the American Folk Art Gallery, the first ever of its kind; the American Folk Art Gallery opened on the second floor of the Downtown Gallery in 1931. Folk art was an important feature of the gallery throughout its history, though the name American Folk Art Gallery does not appear to have been used consistently. Because the profit margin was high and Abby Aldrich Rockefeller bought avidly for her growing collection, folk art revenues subsidized contemporary art exhibitions and helped the gallery survive the Depression. The Daylight Gallery, also run by Halpert and Goldsmith, opened in 1930 in a separate structure behind the main gallery, and continued until the Downtown Gallery moved to East 51st Street in 1940. Its purpose was to exhibit painting and sculpture to best advantage in a gallery designed to diffuse light perfectly and to demonstrate how works of art may be used as architectural embellishments in a modern building. Other subsidiary galleries operated by the Downtown Gallery were the John Marin Room, opened in 1950 and run by John Marin, Jr., and the Ground-Floor Room, 1951, "dedicated to the adventurous, less experienced collector willing to gamble on his taste and ours."

From the beginning, Halpert endeavored to hold prices at reasonable levels; she employed aggressive marketing and advertising techniques learned from her career in business and banking, offering extended payment plans without interest to buyers of modest means. She recognized the value of placing representative works by Downtown Gallery artists in important art museums and public collections, even if a price reduction was necessary to achieve this goal.

After purchasing Goldsmith's share of the business in 1935, Halpert, needing to earn a profit, reorganized the gallery as a more overtly commercial venture. The roster of artists was reduced to twelve. Those eliminated tended to be younger artists, most of whom were supported by WPA work. Eventually, the roster expanded; new additions were usually artists not based in New York, whom Halpert learned of through her work as an adviser to the WPA Federal Art Project. Halpert had long courted Alfred Stieglitz's artists, and in the years following his death in 1946 a number of them affiliated with the Downtown Gallery. Another change was that the Downtown Gallery no longer represented only living American artists; the gallery began handling a number of estates, most notably that of Arthur Dove. In 1953, the roster of Downtown Gallery artists shifted dramatically when Halpert entered into an agreement with Charles Alan. Alan had been hired in 1945 with the understanding that he was being trained to run the Downtown Gallery upon Halpert's retirement five years in the future. Eight years later, it became apparent that Halpert was not going to retire; without consulting the artists, she transferred representation of all artists who had joined the Downtown Gallery since 1936 to the newly established Alan Gallery.

Exhibitions at the Downtown Gallery included both solo exhibitions and group shows usually built around a theme; most lasted about a month. Annual exhibitions (sometimes titled anniversary exhibitions) opened the exhibition season each fall and showcased the gallery's artists. The Downtown Gallery's Christmas show, a long-standing event that encouraged purchases of original art for holiday gift giving, was eagerly anticipated as it featured fine artwork at very reasonable prices. Between 1927 and 1935, the Downtown Gallery was the site of the American Print Makers Society annual exhibitions. During its forty-seven years in operation, the Downtown Gallery organized many important, influential exhibitions. American Ancestors (1931) presented American folk art as the precursor to and direct influence on the contemporary art featured by the Downtown Gallery. The title was used for a number of subsequent exhibitions and became a synonym for folk art. American Folk Art Sculpture: Index of American Design, Federal Art Project (1937) featured drawings by WPA artists recording objects that documented America's material culture and artistic heritage. Along with the Index of American Design drawings, the exhibition included a number of the original sculptures from the Downtown Gallery's inventory and borrowed from folk art collector Abby Aldrich Rockefeller.

William Harnett: "Nature-Vivre" (1939) reintroduced the nineteenth-century artist whose trompe l'oeil paintings had been collected by Halpert over a period of years expressly for this purpose. Between 1947 and 1949, a controversy ensued over paintings--some of which had been sold by the Downtown Gallery--with the signature of William Harnett but discovered by San Francisco Chronicle art critic Alfred Frankenstein to be the work of Harnett's student, John Peto. Halpert had purchased the questionable pieces in good faith, completely unaware of the added signatures, and she defended her attributions, despite evidence to the contrary. Frankenstein publicized his discovery widely; while neither Halpert nor the Downtown Gallery were named directly, their identity was apparent to his well-informed readers. The situation was further inflamed when additional articles by Frankenstein failed to include new evidence favorable to Halpert and the Downtown Gallery.

Another major exhibition was American Negro Art, 19th and 20th Centuries (1941-1942), the first show of its kind held at a commercial gallery. Held at the Downtown Gallery, the exhibition was sponsored by a committee of prominent citizens including Mayor Fiorello La Guardia, Archibald MacLeish, A. Philip Randolph, and Eleanor Roosevelt. Among its aims were to raise money for the Negro Art Fund, to promote museum acquisitions of work by black artists, and to encourage galleries to represent the living participants. In addition to providing its facilities, the Downtown Gallery donated all sales commissions to the Negro Art Fund and added Jacob Lawrence to its roster of artists.

Edith Gregor Halpert played important roles in a number of exhibitions and major art projects that were not connected with the Downtown Gallery. She served as organizer and director of the First Municipal Exhibition of American Art, Atlantic City, New Jersey, in 1929. Beginning in 1932, Halpert was extensively involved with Radio City Music Hall arts projects. She conceived, organized, and handled publicity for the First Municipal Art Exhibition (also known as the Forum Exhibition) sponsored by Mayor Fiorello La Guardia and held at Radio City Music Hall in 1934. As an adviser to the WPA Federal Art Project, Halpert spent the summer of 1936 in Washington, D.C., developing its Exhibition and Allocation Program, which registered works of art arriving from regional project centers and selected pieces for traveling exhibitions that circulated throughout the country. In 1937, she formed the Bureau for Architectural Sculpture and Murals, a central clearinghouse from which architects could review and select work by artists and sculptors experienced in working in architectural settings. Halpert served as curator of the art section of the American National Exhibition, sponsored by the United States Information Agency and the U.S. Department of Commerce; she traveled to the Soviet Union with the exhibition, installed the show, and gave daily gallery talks in Russian. In 1952, to promote art history, Halpert established the Edith Gregor Halpert Foundation. Its activities included assisting universities to fund scholarships for the study of contemporary American art and championing the rights of artists to control the sale and reproduction of their work. For her "outstanding contribution to American art," Halpert received the Art in America Award in 1959. She also received a USIA Citation for Distinguished Service in 1960, and the University of Connecticut awarded her its First Annual International Silver Prize for "distinguished contribution to the arts" in 1968.

In addition to being an art dealer, Edith Gregor Halpert was also a collector of contemporary American art and American folk art. For many years, Halpert and the Corcoran Gallery of Art, Washington, D.C., discussed a gift of a substantial number of paintings to form the nucleus of a new wing to be called the Gallery of 20th-Century American Art. After numerous disagreements and misunderstandings by both parties, the plan was abandoned. While negotiations were still in progress, the Edith Gregor Halpert Collection was exhibited in two installments, 1960 and 1962, at the Corcoran Gallery of Art. During the following two years, portions of her collection traveled to Santa Barbara, Honolulu, and San Francisco. Other exhibitions, drawn completely from the Edith Gregor Halpert Collection, include American Modernism: The First Wave, Painting from 1903-1933, presented at Brandeis University Museum of Art, 1963; Six Decades of American Art, shown at Leicester Galleries, London, 1965; Image to Abstraction, held at Amon Carter Museum, 1967; and Edith Halpert and the Downtown Gallery, exhibited at the University of Connecticut, 1968. The Edith Gregor Halpert Collection was eventually sold at auction by Sotheby Parke-Bernet, 1973.

Dr. Dianne's Tepfer's dissertation (1989) on Edith Gregor Halpert was an invaluable resource in arranging and describing the records of Downtown Gallery; her chronology was consulted often in constructing this Historical Note.

1900 -- born Edith Gregoryevna Fivoosiovitch to Gregor and Frances Lucom Fivoosiovitch, Odessa, Russia

1906 -- arrived in New York City with recently widowed mother and older sister; family name changed to Fivisovitch

1916 -- employed as a comptometer operator at Bloomingdale's department store; studied drawing with Leon Kroll and Ivan Olinsky at the National Academy of Design; further shortened name to Fein

1916-1917 -- attended life drawing and anatomy classes taught by George Bridgeman at the Art Students' League; employed in foreign and advertising offices, R. H. Macy department store

1917 -- met artist Samuel Halpert at John Weichsel's People's Art Guild

1917-1918 -- employed as advertising manager, Stern Brothers department store

1918-1919 -- employed as systematizer (efficiency expert), investment firm of Cohen, Goldman

1918 -- married Samuel Halpert

1919-1920 -- employed as systematizer, investment firm of Fishman & Co.; attended writing courses, Columbia University

1921-1925 -- employed as personnel manager, systematizer, and head of correspondence at investment banking firm of S. W. Strauss & Co.; eventually appointed to the board of directors

1924 -- first exposed to folk art at the home of sculptor Elie Nadelman

1925 -- visited Paris with Samuel Halpert (June-September)

1926 -- visited Ogunquit, Maine, with Samuel and was further exposed to antiques and folk art; other summer guests included artists Stefan Hirsch, Bernard Karfiol, Walt Kuhn, Yasuo Kuniyoshi, Robert Laurent, Katherine Schmidt, Niles Spencer, and Marguerite and William Zorach; opened Our Gallery, devoted to modern American art, at 113 West 13th Street with business partner Berthe Kroll Goldsmith

1927 -- separated from Samuel, who moved to Detroit to teach at the Society for Arts and Crafts; changed name of Our Gallery to Downtown Gallery, at the suggestion of William Zorach

1928 -- Abby Aldrich Rockefeller first visited the Downtown Gallery; published George O. "Pop" Hart: 24 Selections from His Work by Holger Cahill, first of a projected series of ten Downtown Gallery monographs

1929 -- initiated divorce proceedings in Detroit; founded the American Folk Art Gallery, the first of its kind, with business; partners Berthe Kroll Goldsmith and Holger Cahill; served as organizer and director of the First Municipal Exhibition of American Art, Atlantic City

1930 -- divorce granted; present at the death of Samuel Halpert; opened the Daylight Gallery in a separate structure behind the Downtown Gallery specially designed to display works of art under optimal conditions; published Max Weber by Holger Cahill, second (and last) of the Downtown Gallery monographs

1931 -- opened the American Folk Art Gallery on second floor of the Downtown Gallery

1932 -- purchased house in Newtown, Connecticut; became extensively involved with Radio City Music Hall arts projects

1934 -- conceived, organized, and handled publicity for the First Municipal Art Exhibition, also called the Forum Exhibition, sponsored by Mayor Fiorello La Guardia and held at Radio City Music Hall

1935 -- bought Goldsmith's share of the business and, as sole owner, reorganized the gallery

1936 -- served as adviser to WPA Federal Art Project, charged with developing the Exhibition and Allocation Program

1937 -- formed Bureau for Architectural Sculpture and Murals

1939 -- organized Nature-Vivre; exhibition of paintings by the rediscovered William Harnett, rekindling interest in trompe l'oeil painting

1940 -- Downtown Gallery moved to 43 East 51st Street; cataloged and installed the Abby Aldrich Rockefeller Collection of American Folk Art at Williamsburg, Virginia

1941 -- American Negro Art, 19th and 20th Centuries

1945 -- Downtown Gallery moved to 32 East 51st Street; hired Charles Alan as assistant director

1946 -- Downtown Gallery began representing former Alfred Stieglitz artists Charles Demuth, Marsden Hartley, John Marin, and Georgia O'Keeffe

1947-1949 -- embroiled in controversy over paintings with the signature of William Harnett but discovered to be the work of Harnett's student John Peto

1950 -- opened the John Marin Room, operated by John Marin, Jr.

1951 -- opened the Ground-Floor Room, for works by new artists

1952 -- established the Edith Gregor Halpert Foundation

1953 -- transferred representation of newer Downtown Gallery artists to the Alan Gallery

1954 -- published The ABCs for Collectors of Contemporary Art by John I. H. Baur

1959 -- traveled to Moscow as curator of the art section, "American National Exhibition," and gave daily gallery talks in Russian; received Art in America Award

1960 -- exhibited selections from the Edith Gregor Halpert Collection at the Corcoran Gallery of Art, Washington, D.C.; awarded USIA Citation for Distinguished Service and the Merit Award Emblem

1962 -- second exhibition of the Edith Gregor Halpert Collection at the Corcoran Gallery of Art; began discussions, ultimately abandoned, for the transfer and installation of a large gift of paintings from the Edith Gregor Halpert Collection to a special wing of the Corcoran Gallery of Art

1963 -- American Modernism: The First Wave, Painting from 1903-1933, an exhibition based entirely on the Edith Gregor Halpert Collection, Brandeis University Museum of Art

1965 -- Downtown Gallery moved to smaller quarters, Ritz Tower Concourse, 465 Park Avenue; open by appointment only; Six Decades of American Art, from the Edith Gregor Halpert Collection, Leicester Galleries, London

1967 -- Image to Abstraction, an exhibition based entirely on the Edith Gregor Halpert Collection, Amon Carter Museum, Fort Worth, Texas

1968 -- the Downtown Gallery ceased to be the exclusive representative of Abraham Rattner, Ben Shahn, Georgia O'Keffe, and Max Weber, and the estates of Stuart Davis, and Marguerite and William Zorach were withdrawn from the gallery; Edith Halpert and the Downtown Gallery exhibition at the Museum of Art, the University of Connecticut; awarded the First Annual International Silver Prize medal for "distinguished contribution to the arts," University of Connecticut

1970 -- died, New York City

1970-1973 -- the Downtown Gallery continued limited operation under the direction of niece, Nathaly Baum

1972-1978 -- the Downtown Gallery records donated to the Archives of American Art by Nathaly Baum, executor of the Edith Gregor Halpert estate

1973 -- Sotheby Parke-Bernet auction sale of the Edith Gregor Halpert Collection

1997-1999 -- arrangement, description, and microfilming of Downtown Gallery records and publication of this finding aid funded by a grant from the Henry Luce Foundation, Inc.
Appendix B: Chronological List of Downtown Gallery Exhibitions:
Below is a chronological listing of Downtown Gallery exhibitions, culled from catalogs and checklists, invitations and announcements, press releases, newspaper reviews, advertisements, lists compiled by gallery staff, and The Archives of American Art Collection of Exhibition Catalogs (1979). Exhibition titles indicated on the announcement or used in a published review sometimes differ from the title of the corresponding exhibition catalog or printed checklist. Catalogs or announcements for most shows will be found with the printed matter produced by the Downtown Gallery (Series 7.1), in the publicity notebooks (Series 3.3.), and/or with artist files (Series 2). Microfilm reel and frame number(s) are noted in parentheses for catalogs or exhibition announcements recorded in The Archives of American Art Collection of Exhibition Catalogs that are not among the Downtown Gallery records.

Undated -- Jan. 24-Feb. 12: American Landscapes: Paintings and Water Colors Mar. 3-28 [1964?]: Abraham Rattner: New Paintings, 1961-1963 June: Art for 13,000,000 Sept. 17-27: Abraham Rattner: Stained Glass Window Designed for the De Waters Art Center, Flint, Michigan

1926 -- Nov. [6-?}: Opening Exhibition: Small Works by Leading American Contemporary Artists Dec. [4-?]: The Christmas Exhibition, $10-50

1927 -- Jan. 8-Feb. 4: American Marines Jan. 8-Feb. 4: Print Room Selection Nov. 26-Dec. 9: Frank Osborn: Sculpture Lamps Nov. 26-Dec. 9: Stuart Davis May [10-?]: Portfolio Selection, $5-25 Dec. 10-31: American Print Makers Exhibition Nov. 3-23: "Pop" Hart: One-Man Show Oct. 13-Nov. 3: Ogunquit Exhibition: Summer Work by 12 Ogunquit Residents Mar. 1-19: George C. Ault: Water Colors and Drawings Feb. [5-?]: George Overbury "Pop" Hart Apr. [11-?]: Spring Exhibitions: Pictures Suggestive of the Season Mar. 21-Apr. 9: Walt Kuhn Lighographs: `New Trapeze Ladies'

1928 -- Feb. 14-Mar. 4: Walt Kuhn: Recent Works Jan. 24-Feb. 12: 75 Years of American Landscapes Mar. 6-25: Samuel Halpert: Recent Work Dec. 10-31: American Print Makers 2nd Annual Exhibition Jan. 3-22: Joseph Pollett: Recent Paintings and Watercolors Oct. 7-28: Paris by Americans Oct. 29-Nov. 17: Max Weber: New Lithographs, $10-50 Nov. 19-Dec. 8: George C. Ault: Paintings, $30-300 Apr. 23-May 13: May Flowers May 19-June 13: Art for Everybody, $10-50 Mar. 26-Apr. 15: Ernest Fiene: Lithographs Apr. 2-22: Marguerite Zorach: Paintings and Drawings

1929 -- Nov. [19-?]: Glenn Coleman: Temperas June 3-14: Oils, Sculpture, Water Colors, Monotypes, Drawings, Pottery May [14-?]: Joseph Pollet: Watercolors May [14-?]: Lithographs by A. Walkowitz Mar. 26-Apr. 14: José Orozco: Paintings of New York City Apr. 23-May 14: Walt Kuhn: Loan Paintings Feb. 12-Mar. 23: Stefan Hirsch: Paintings Mar. 4-Apr. 14: Duncan Ferguson: Sculpture Jan. 21-Feb. 10: Drawings by 8 American Artists (Hart, Karfiol, Kuhn, Pascin, Walkowitz, Weber, M. Zorach, and W. Zorach) Jan. 2-20: Ann Goldthwaite: Recent Work Dec. 10-31: American Print Makers 3rd Annual Exhibition Oct. 29-Nov. 17: Joseph Pollet: Recent Paintings Oct. 7-28: Americans Abroad (Davis, Fiene, Ganso, Hart, Hirsch, Pascin, and Wilenchick)

1930 -- Oct. [25-?]: Reuben Nakian: Sculpture Nov. 18-Dec. 16: Glenn Coleman: Paintings Sept. 30-Oct. 25: Summer Landscapes, 1930: Paintings by American Contemporary Artists Summer: Important Painting and Sculpture by Leading American Artists in the Daylight Gallery May 26-July 1: Small Painting, Sculpture, and Drawings by Leading American Contemporary Artists, $100 or Less Apr. 19-May 10: Daylight Gallery Opening Exhibition Oct. [25-?]: Julia Kelly: Painting Apr. [8-?]: Ben Shahn: Paintings and Drawings Mar. 11-30: Wood Gaylor: Paintings Feb. [11-?]: Marguerite Zorach: Recent Paintings of New England and New York Jan. 28-Feb. 15: 33 Moderns: The Downtown Gallery Exhibition of Paintings, Sculpture, Watercolors, Drawings, and Prints by 33 American Contemporary Artists [at the Grand Central Galleries] Jan. [25-?]: Stuart Davis: Recent Paintings Dec. 8-31: American Print Makers 4th Annual Exhibition Jan. [2-?]: Abraham Walkowitz: Heads and Flowers May [10-?]: "Pop" Hart: Paintings from Africa and Europe

1931 -- Jan. 3-25: Jules Pascin Memorial Exhibition Jan. [27-?]: William Zorach: New Sculpture Feb. [14-?]: Joseph Pollett: Paintings Feb. 2-16: Isabella Howland: Paintings Dec. 14-31: American Ancestors: Masterpieces by Little Known and Anonymous American Painters, 1790-1890 Mar. 16-30: 7 Masters of Water Color (Demuth, Dickinson, Hart, Marin, Sheeler, Walkowitz, Zorach) Apr. [29-?]: Peggy Bacon: Caricature Portraits Mar. 31-Apr. 9: Stuart Davis: Recent Paintings Nov. [18-?]: Charles Sheeler: Recent Paintings May 12-31: Flowers: Paintings in Oil and Water Color by American Contemporary Artists Oct. 5-25: `Artists' Models,' Figure Paintings by Leading Contemporary American Artists June 2-22: Paintings, Water Colors, Drawings, Sculpture by Leading Contemporary American Artists Oct. 28-Nov. 17: Karl Knaths: Paintings Dec. 7-31: American Print Makers 5th Annual Exhibition

1932 -- May 31-June 30: Paintings and Sculpture by Outstanding American Artists Dec. 28-Jan. 14: William Zorach: Spirit of the Dance in Original Plaster Dec.: Christmas Exhibition: Drawings, Paintings, Sculpture, $10-100 Feb. 20-Mar. 3: Peggy Bacon: Recent Paintings (N433: 515) Jan. 5-18: American Modern Art [arranged by the Downtown Gallery at Knoedler & Co., Inc., Chicago] Oct. 4-22: Prelude to the Season: New Paintings and Sculpture by American Contemporaries Dec. 9-31: Carl Walters: Sculpture and Pottery in Ceramic Jan. 5-24: Alexander Brook: Recent Paintings Jan. [24-?]: Paintings by Contemporary American Painters Feb. 23-Mar. 7: Wood Gaylor: Recent Paintings Oct. 4-22: Bernard Sanders: Graphics Dec. 5-31: American Print Makers 6th Annual Exhibition Feb. [24-?]: Winter in Maine: Recent Watercolors by William Zorach Mar. 22-Apr. 3: Joseph Pollet: Recent Paintings Nov. 18-Dec. 9: Stefan Hirsch: Recent Work--New York and Mexico Apr. 5-17: The Passion of Sacco-Vanzetti: Gouaches by Ben Shahn Apr. 19-May 15: Pictures of New England by a New Englander: Recent Paintings of Dogtown, Cape Ann, Mass., by Marsden Hartley [errata slip stapled to cover of the copy filmed on Br10: 660-663 indicates the dates were changed to Apr. 26-May 15, 1932] May 17-29: 3 Painters: Baum, Botkin, Schultz Oct. 25-Nov. 13: Dorothy Varian: Recent Paintings

1933 -- Jan. 17-Feb. 4: Bernard Karfiol: Paintings and Drawings Mar. 21-Apr. 8: Major Works by Distinguished American Artists Feb. [28-?]: Watercolors by Stuart Davis Feb. 27-Mar. 18: Reuben Nakian: Sculpture Portraits of 10 Artists Feb. 7-25: Yasuo Kuniyoshi: Recent Paintings Oct. 3-14: American Ancestors, 2nd Exhibition: Masterpieces by Little Known and Anonymous American Artists: 1720-1870 May 23-June 30: Paintings and Sculpture: Recent Works by Leading American Contemporaries, at $100 May 2-20: Ben Shahn: The Tom Mooney Case Apr. 11-29: Nicolai Cikovsky: Recent Paintings Nov. 14-Dec. 14: Drawings and Rare Prints by "Pop" Hart Dec. 5-31: American Print Makers 7th Annual Exhibition Oct. 24-Nov. 11: Painting and Sculpture by Leading Contemporaries

1934 -- Jan. 23-Feb. 10: Alexander Brook: Recent Paintings Feb. 13-Mar. 3: Babe Ruth by Reuben Nakian Jan. 3-20: Ernest Fiene: Painter of the American Scene Dec. 13-31: Practical Manifestations in American Art Apr. 3-21: Katherine Schmidt: Paintings Apr. 25-May 12: Stuart Davis: Recent Paintings Dec. [3-?]: Group Show Mar. 13-31: Recent Paintings by Joseph Pollet Oct. 1-14: Hamilton Easter Field Art Foundation Collection of Paintings and Sculpture Oct. 23-Nov. 3: Marguerite Zorach: Paintings and Drawings May 15-June 15: Paintings and Sculpture: Selected Works by Leading American Contemporaries, Extraordinary Values at $100 Dec. 3-29: American Print Makers 8th Annual Exhibition Feb. 20-Mar. 3: Recent Work by Peggy Bacon Nov. 20-Dec. 8: Peggy Bacon: `Off with Their Heads,' Caricature Portraits of 38 Contemporary American Celebrities Nov. 6-17: American Drawings: Recent Work by Charles Sheeler, John Marin, Yasuo Kuniyoshi, Charles Locke, Stuart Davis, Alexander Brook

1935 -- May 1-18: Nakian: The New Deal in Portraiture Apr. 13-28: Reuben Nakian: Portrait Heads of the Present Administration May 21-June 14: Paintings and Sculpture by Leading American Artists Dec.: Carl Walters: Ceramic Sculpture and Pottery Mar. 12-30: Exhibition of 14 Paintings by 14 American Contemporaries Feb. 20-Mar. 9: Nicolai Cikovsky: Recent Paintings Apr. 10-27: Watercolor and Pastels by 14 American Artists Dec. 2-28: American Print Makers 9th Annual Exhibition Nov.: Ernest Fiene: Paintings Nov. [5-?]: American Folk Art: Recently Acquired Paintings and Sculpture Jan. 16-Feb. 2: Charles Burchfield and Charles Sheeler Dec. 11-28: Anne Goldthwaite: Murals of the South Jan. 16-Feb. 9: Bernard Karfiol: Watercolors and Drawings Oct. 22-Nov. 9: Opening Exhibition: Important Recent Painting and Sculpture May 21-June 14: $100 Exhibition: Extraordinary Values for Discriminating Collectors

1936 -- Oct. [28-?]: Tenth Anniversary Exhibition: American Art, 1800-1936 Dec. 13-24: American Print Makers 10th Anniversary Annual Exhibition (N428:304-305) Dec.: Christmas Gift Show Dec.: Ceramics by Carl Walters Feb. [25-?]: Watercolors by William Zorach Mar. 17-Apr. 4: Yasuo Kuniyoshi: Paintings May [5-?]: Joseph Pollet: Paintings May 26-June 12: Paintings and Sculpture: Recent Work by Leading American Contemporaries, Extraordinary Values at $100 Apr. 14-May 2: Portraits by 6 Contemporary and Early American Artists Jan. 30-Feb. 15: American Birds in Sculpture, 1785-1935 Jan. 6-25: Alexander Brooke: Paintings Dec. 2-31: Vital Statistics

1937 -- Dec. 7-31: Christmas Exhibition: Fine Works of Art as Original Gifts through June 25: Paintings and Sculpture, 1800-1937 Oct. 5-23: Paintings by 12 Younger Artists Oct. 19-Nov. 6: Fall Exhibition May 18-June 5: Joseph Steig: Watercolors May 5-29: Major Examples by Major Artists Apr. 13-May 1: Children in American Folk Art, 1725-1865: Children's Art, Their Portraits, and Their Toys Apr. [10-?]: Contemporary Americans Sept. 28-Oct. 9: American Folk Art Sculpture: Index of Design, WPA Federal Art Project Sept.: Drawings by the Index of American Design Oct. 20-Nov. 10: An Exhibition of Contemporary American Art from the Downtown Gallery of New York, Sponsored by the Atlanta Georgian and Sunday American at the High Museum of Art Mar. 9-27: The 1920s: Oils, Sculpture, Watercolors, and Drawings by 18 American Contemporaries Mar. 30-Apr. 10: Younger Artists Nov.: Dorothy Varian: Paintings Feb. 9-27: American Dogs: Recent Portraits in Oil of Champion Dogs by Fenelle and Paintings and Sculpture Portraying Dogs of the Period 1820-1860 from the American Folk Art Gallery Jan. [15-?]: David Fredenthal Feb.: Group Show

1938 -- Oct. 4-22: Americans at Home: 32 Painters and Sculptors Sept. 4-22: Folk Art Apr. [27-?]: David Fredenthal: Paintings May 25-June 17: Art for the Summer House, $15-100 Apr. 5-23: Preston Dickinson, 1891-1930: 13 Pastels Dec. 6-30: Christmas Exhibition Mar. 16-Apr. 2: Paintings by Americans: New Paintings by Karfiol, Kuniyoshi, Sheeler, and Recent Oils by Marin and O'Keeffe Nov. [15-?]: Louis Guglielmi: Paintings Feb. 15-Mar. 5: 50 American Watercolors and Pastels, 1800-1938 Dec. 6-30: Carl Walters: Ceramic Sculpture Jan. 18-Feb. 15: American Genre Paintings, 1785-1887 Nov. 2-20: John Stenvall: Paintings Jan. 5-22: Isabella Howland: 25 Sculpture Heads Jan. 25-Feb. 11: Nicolai Cikovsky: Paintings Nov. 1-12: American Ancestors: Masterpieces in American Folk Art, 1720-1860 Nov. [2-?]: Georgia O'Keeffe: Paintings

1939 -- Oct. 3-14: Paintings on Velvet, 1800-1840 Feb. [14-?]: Nathaniel Kaz: Sculpture Nov. 7-25: Contemporary American Genre: 27 Painters and Sculptors Mar. [7-?]: Katherine Schmidt: Paintings May [8-?]: Group Show Jan. 24-Feb. 11: Yasuo Kuniyoshi: Paintings Dec. 6-30: Carl Walters: Ceramic Sculpture Jan. [24-?]: Jack Levine: Paintings Mar. 28-Apr. 15: William Steig: Sculpture June 7-30: American Art, Past and Present Apr. 18-May 16: William Harnett: `Nature-Vivre' Oct. [17-?]: John Marin: 20 Drawings Jan. 4-21: Important New Paintings by American Artists: Cikovsky, Karfiol, Marin,, O'Keeffe, Sheeler, and Varian Dec. 6-30: Christmas Exhibition: Paintings, Drawings, and Sculpture, $100 or Less May [16-?]: Raymond Breinin: Paintings

1940 -- Jan. [3-?]: Mitchell Siporin: Paintings Jan. [23-?]: Rainey Bennett: Paintings Dec. 2-21: Charles Sheeler: `Power,' 6 Original Paintings Commissioned for Reproduction in the December 1940 Issue of Fortune(N433:550 551) Mar. [25-?]: Yasuo Kuniyoshi: Lithographs Mar. [25-?]: Group Show: Paintings Feb. [20-?]: Julien Levi: Paintings Mar. [18-?]: Gallery Group Dec. [9-?]: Christmas Exhibition Oct. 17-Nov. 16: Opening Exhibition [43 East 51st Street] May 13-24: Artist's Fund Exhibition Apr. 23-May 11: Review of the Season: Paintings by Leading American Artists

1941 -- Dec. 9-Jan. 3, 1942: American Negro Art: 19th and 20th Centuries Sept. 16-Oct. 11: American Folk Sculpture: Weather Vanes in Metal and Wood: 18th and 19th Centuries [?]-June 27: Summer Exhibition and William Harnett May 6-30: What Is Wrong with This Picture? Nov. 13-Dec. 6: Yasuo Kuniyoshi: Recent Paintings (Br10: 699-700) Nov. 11-Dec. 6: Bernard Karfiol Oct. 21-25: American Folk Art Sale Oct. 7-Nov. 1: New Examples by Leading American Artists Apr. 8-26: Spring: New Paintings by Outstanding Americans Feb. 25-Mar. 22: Masterpieces in American Folk Art Jan. 7-Feb. 1: The Painter Looks at Music Feb. 4-21: 13 American Paintings

1942 -- Oct. 13-31: Paintings, Cartoons, Photographs of the St. Louis Post Office Murals by Mitchell Siporin and Edward Millman Dec. 22-Jan. 9, 1943: Inter-American Folk Arts, 1700-1900: Paintings and Sculpture by Little Known and Anonymous Artists of Argentina, Chile, Colombia, Ecuador, Haiti, Mexico, Peru, U.S.A. Jan. 7-24: Watercolors and Drawings by Leading American Artists Feb. 3-28: Julian Levi Mar. 3-28: Battles & Symbols of the U.S.A.: Exhibition of Paintings and Sculpture by American Folk Artists Apr. 7-May 2: Spring Exhibition: New Paintings and Newly Discovered Paintings by William M. Harnett Apr. 7-May 2: American Folk Art May 5-29: Yasuo Kuniyoshi: Retrospective Loan Exhibition, 1921-1941 (Br10: 703-705) June 10-26: Paintings, Sculpture, Drawings by Leading American Artists Sept. 22-Oct. 10: Opening Exhibition: New Paintings and Sculpture

1943 -- Jan. 12-30: Breinin: Recent Paintings (D55: 77) Mar. 2-27: William Zorach: Selected Sculpture (D57: 632-634) Mar. 31-Apr. 24: Spring Exhibition and American Folk Art June 8-25: Summer Exhibition: American Art Oct. 5-30: 18th Annual Exhibition: American Art Oct. 27-Nov. 20: Recent Paintings in Encaustic by Karl Zerbe Nov. 23-Dec. 11: Demuth, Dickinson, "Pop" Hart, Pascin

1944 -- Nov. 14-Dec. 2: Ben Shahn: Paintings in Tempera (Br10: 707-708) Feb. 1-12: Exhibition of Paintings and Sculpture Apr. 11-May 6: Spring: New Important Paintings & Sculpture by Leading Americans Feb. 15-Mar. 11: Horace Pippin May 31-June 30: Summer Exhibition May 9-27: William Zorach Oct. 3-28: 19th Annual Exhibition: American Art Sept. 13-30: American Folk Art from the Collection of Mrs. Isabel C. Wilde

1945 -- Jan. 3-20: Suba: First One-Man Exhibition of Paintings Mar. 6-31: Julian Levi Feb. 13-Mar. 3: George L. K. Morris: Paintings, 1944 and 1945, and Sculpture, 1934-1945 (Br10: 712-714) May 1-26: 19th Annual Spring Exhibition Apr. 3-28: Yasuo Kuniyoshi: New Paintings and Drawings Oct. 15-Nov. 3: Loan Exhibition Oct. 15-Nov. 3: 20th Anniversary [opening of new quarters on East 51st Street] Dec. 4-29: Christmas Exhibition Nov. 6-Dec. 1: 20th Annual Exhibition: American Art Dec. 4-29: Jacob Lawrence: John Brown, A Series of 22 Paintings in Gouache

1946 -- Dec. 3-31: Christmas Exhibition Sept. 4-21: Masterpieces in American Folk Art: Recently Discovered Examples Sept. 24-Oct. 19: 21st Annual Exhibition: New Paintings by Leading American Artists June: New Important Paintings by Leading Americans July 2-Aug. 30: Summer Exhibition: Recent Paintings and Sculpture... Combined with a Selection of Important American Folk Art Mar. 26-Apr. 13: Paul Burlin May 7-25: 6 Artists Out of Uniform: New Post-War Paintings by 6 Important Americans Jan. 29-Feb. 16: Stuart Davis Retrospective Exhibition: Gouaches, Watercolors, Drawings, 1912-1941 (N126: 369-370)

1947 -- Apr. 1-26: Spring 1947 Apr. 29-May 17: Boston/New York: First Exchange Exhibition [Boston portion at Downtown Gallery and New York portion at Boris Mirski Gallery, Boston] Feb. 4-Mar. 1: Important New Drawings Mar. 4-29: William Zorach Jan. 7-25: Arthur Dove Nov. 11-29: Niles Spencer Dec. 2-27: Christmas Exhibition Sept. 23-Oct. 18: 22nd Annual Exhibition Sept. 3-20: 20th-Century American Watercolors Aug. 12-29: Exhibition of American Folk Art: Recent Acquisitions June 10-Aug. 8: American Art, 1800-1947 and American Folk Art May 20-June 7: National Parks: A Fortune Portfolio

1948 -- Sept. 28-Oct. 23: 23rd Annual Exhibition Sept. 8-28: The American Family: Folk Paintings, 1750-1850 Aug. 10-Sept. 2: Marin - New York (N126: 407-408) June 29-Aug. 6: Art for the 8,060,000 May 10-20: Mexican Folk Art Apr. 13-May 1: William Harnett Centennial Exhibition Mar. 22-Apr. 3: American Art: A Multiple Exhibition Arranged by the Association of Dealers in American Art [Downtown Gallery participating] Jan. 20-Feb. 7: Paintings by Stuart Davis, Yasuo Kuniyoshi, Jack Levine, John Marin, Ben Shahn Dec. 7-31: Christmas 1948 Nov. 16-Dec. 14: Jacques Maroger: Recent Paintings (N126: 411-412) undated: American Art... 20th Century Image to Abstraction [Amon Carter Museum; entire exhibition drawn from the collections of Edith Gregor Halpert and the Downtown Gallery] Dec. 7-31: William Zorach

1949 -- Nov. 15-Dec. 3: Reuben Tam Dec. 6-24: Christmas Exhibition May 10-28: Mexican Folk Art July 6-29: Art and/or Money Sept. 7-24: Important Paintings and Sculpture by Little Known and Unknown Artists of the 18th and 19th Century Oct. 3-22: 24th Annual Exhibition Mar. 15-Apr. 2: Paul Burlin Apr. 5-23: The Artist Speaks Apr. 25-10: 26 Teenage Artists Presented by Seventeen Magazine May 3-21: Arthur G. Dove: Watercolors, 1929-1946 (N126: 424) Sept. 7-24: American Folk Art

1950 -- Apr. 25-May 13: In 1950... Jan. 23-28: Creative Art for Commerce Dec. 5-23: Christmas Exhibition Oct. 24-Nov. 11: Jacob Lawrence (D56: 298-300) May 16-June 2: A Museum Collection: American Folk Sculpture Apr. 4-22: Yasuo Kuniyoshi Sept. 26-Oct. 21: 25th Annual Exhibition: New Paintings and Sculpture June: Art for 13,000,000 Jan. 31-Feb. 18: Ralston Crawford Dec. 27-Jan. 27, 1951: John Marin Mar. 14-Apr. 1: In 1940... Feb. 21-Mar. 11: Aquamedia

1951 -- Dec. 11-29: Christmas Exhibition May 1-19: Newcomers: Paintings by Artists from 15 States Nov. 20-Dec. 8: O. Louis Guglielmi Apr. 3-28: Spring 1951 Oct. 2-27: 26th Annual Exhibition: New Paintings and Sculpture by Leading American Artists July 10-Aug. 17: Summer Exhibition: American Art Sept. 5-22: Contemporary American Drawings June 12-29: Masterpieces in American Folk Art Mar. 13-31: Charles Sheeler: Paintings, 1949-1951 Feb. 20-Mar. 1: William Zorach: Sculpture, 1947-1951

1952 -- Oct. 28-Nov. 15: Niles Spencer Oct. 14-Nov. 15: The Ground-Floor Room 2nd Annual Exhibition Dec. 9-27: Stuart Davis and Yasuo Kuniyoshi Mar. 11-29: Ben Shahn: Paintings (D56: 1075-1076) Mar. 4-20: Recent Arrivals Jan. 2-26: John Marin: Oils and Watercolors June 3-27: Art for the 67% May 12-29: Lithographs, Woodcuts, Theorems, Serigraphs, and Other Prints by Leading American Artists Apr. 22-May 10: Arthur G. Dove Apr. 1-19: Spring '52 Oct. 1-25: 27th Annual Exhibition Nov. 18-Dec. 16: Shop for Art Early at the Downtown Gallery Sept. 9-27: American Amateur Art of 100 Years Ago July 1-Aug. 1: Pertaining to Summer: An Exhibition of Painting and Sculpture by Leading American Artists

1953 -- Jan. 7-Feb. 14: Performance: A New Series of Paintings in Tempera by Jacob Lawrence Feb. 17-Mar. 7: Celebrating the Tercentenary of New York, MDCLIII - MCMLIII: Paintings of New York by Leading American Artists Apr. 21-May 9: David Aronson May 12-29: 8 Younger Artists Mar. 10-28: Paul Burlin Mar. 31-Apr. 18: Reuben Tam Nov. 17-Dec. 7: Art in the Office Dec. 8-31: Art Gems for Christmas Sept. 22-Oct. 17: 28th Annual Exhibition: Recent Paintings and Sculpture Oct. 20-Nov. 14: Yasuo Kuniyoshi: Ink Paintings

1954 -- Sept. 14-Oct. 2: Artists of Chicago May 25-June 25: Summer 1954 Nov. 9-20: Skowhegan School of Painting and Sculpture: A Benefit Exhibition by Its Faculty and Visiting Artists for the Scholarship Fund Oct. 5-30: 29th Annual Exhibition: New Paintings and Sculpture Nov. 23-Dec. 24: Christmas Exhibition Apr. 6-May 1: Dove and Demuth: Watercolor Retrospective May 4-22: American Folk Art: Painting and Sculpture Feb. 2-27: International Exhibition: American, Belgian, British, Canadian, French, Italian, Mexican Painters under 40 Mar. 2-31: Stuart Davis: Recent Paintings

1955 -- Mar. 20-Apr. 23: Georgia O'Keeffe May 24-June 11: Gallery Purchases: Contemporary Art Apr. 26-May 21: Spring 1955 Sept. 13-Oct. 1: Painters of Los Angeles June 14-30: Gallery Purchases: American Folk Art Nov. 1-26: Arthur Dove: Collages Oct. 4-29: 30th Annual Exhibition Dec. 28-Jan. 21, 1956: William Zorach: A Selection, 1914-1955

1956 -- May 1-26: Bernard Karfiol: The Figure (N126L529-531) May 29-June 29: Spring 1956 Sept. 5-29: Americans in Europe Oct. 9-Nov. 3: 31st Annual Exhibition Nov. 6-Dec. 1: Stuart Davis: Exhibition of Recent Paintings, 1954-1956 Dec. 4-22: 31st Annual Christmas at the Downtown Gallery Jan. 31-Feb. 25: The Recurrent Image Apr. 3-28: Charles Sheeler: Selections from the Collection of the William H. Lane Foundation Feb. 28-Mar. 24: Arthur Dove: Paintings

1957 -- Dec. 31-Jan. 25, 1958: 32nd Annual Exhibition [?]-May 4: Spring Exhibition Dec. 9-21: Art Our Children Live With: A Loan Exhibition of American Art Jan. 8-Feb. 7: Max Weber Feb. 12-Mar. 2: New Acquisitions: Wm. M. Harnett (1848-1892) Feb. 12-Mar. 2: American Folk Art: Paintings and Sculpture Mar. 2-30: New Mexico as Painted by Stuart Davis, Marsden Hartley, Yasuo Kuniyoshi, John Marin, Georgia O'Keeffe, John Sloan May 7-31: Important Drawings by Leading American Artists June 4-28: Summer 1957 Oct. 7-Nov. 2: Group Show Nov. 5-27: Last Judgments by Abraham Rattner (D203: 76) Nov. 25-Dec. 7: 32nd Annual Christmas at the Downtown Gallery

1958 -- Sept. 30-Oct. 11: Arthur Dove: Watercolors June 9-27: 100 Church Street, `Portrait of a Building' by 10 American Artists May 20-June 7: Charles Demuth Apr. 29-May 10: Spring 1958 Mar. 5-Apr. 19: Charles Sheeler Jan. 28-Feb. 21: C. S. Price Dec. 8-27: 33rd Annual Christmas Exhibition Nov. 11-Dec. 6: Max Weber: The Figure in Retrospect, 1906-1958 Oct. 14-Nov. 8: 33rd Annual Exhibition

1959 -- Dec. 8-24: Ben Shahn: Silk-Screen Prints Dec. 29-Jan. 23, 1960: New Acquisitions Oct. 20-Nov. 14: 34th Annual Exhibition Nov. 17-Dec. 5: 34th Annual Christmas at the Downtown Gallery Sept. 22-Oct. 17: The Dial and the Dial Collection: A Special Loan Exhibition of Paintings, Sculpture & Graphics by 30 American Artists Apr. 29-June 2: Spring 1959 Apr. 7-25: Robert Osborn Mar. 3-28: Ben Shahn Jan. 6-31: New Acquisitions: American Folk Art Painting and Sculpture

1960 -- Feb. 23-Mar. 19: Gallery Group Mar. 22-Apr. 9: Jack Zajac Mar. 11-[?]: Signs & Symbols, U.S.A., 1760-1960 Jan. 21-Feb. 20: 7 Artists in Hawaii Dec. 5-24: Robert Osborn: Paintings and Drawings from `The Vulgarians' Nov. 8-Dec. 3: Abraham Rattner Dec. 5-24: 35th Annual Christmas at the Downtown Gallery through June 30: Summer 1960 Oct. 11-Nov. 5: 35th Annual Exhibition Apr. 19-may 7: Tseng Yu-Ho May 10-June 4: Stuart Davis

1961 -- June 13-30: Selections 1961 May 16-June 9: Spring 1961 Dec. 4-23: 36th Annual Christmas at the Downtown Gallery Sept. 12-Oct. 7: New Acquisitions Feb. 15-Mar. 11: Aquamedia in American Art Jan. 25-Feb. 11: Yasuo Kuniyoshi Apr. 11-May 2: Gallery Group Mar. 15-Apr. 8: Alfred Duca Jan. 9-Feb. 6: New Acquisitions

1962 -- Nov. 3-28: Robert Osborn Dec. 3-22: 37th Annual Christmas at Downtown Gallery May 22-June 15: 36th Annual Spring Exhibition: The Figure Apr. 24-May 19: Stuart Davis Oct. 16-Nov. 10: 37th Anniversary Exhibition Sept. 25-Oct. 13: American Roots: Folk Art in Painting and Sculpture Feb. 27-Mar. 17: Robert Osborn: Clowns and Non-Clowns Jan. 9-27: Tseng Yu-Ho: 18 Dsui Paintings Mar. 27-Apr. 21: Abstract Painting in America, 1903-1923 Mar. 10-31: Max Weber Memorial Exhibition

1963 -- Mar. 12-Apr. 16: Signs & Symbols * U.S.A., 1780-1960 May 7-[?]: Max Weber Dec. 2-21: 38th Annual Christmas at Downtown Gallery June 11-July 3: Summer 1963 Apr. 9-May 3: Spring 1963 Jan. 8-Feb. 2: John Marin Oct. 1-26: 38th Anniversary Exhibition Oct. 29-Nov. 16: Ben Shahn: Retrospective Exhibition, Paintings and Drawings, 1901-1958 Oct. 29-Nov. 16: Homage to e. e. cummings Oct. 29-Nov. 16: Gallery Group Aug. 6-Sept. 15: Loan Exhibition from the Edith Gregor Halpert Collection [Santa Barbara Museum of Art] Nov. 7-Dec. 8: Loan Exhibition from the Edith Gregor Halpert Collection [Honolulu Academy of Arts] Sept. 9-14: Visual Art by Performing Artists Dec. 3-Jan. 7, 1964: American Signs and Symbols

1964 -- Sept. 9-Oct. 3: 20th Century American Drawings Oct. 6-31: 39th Anniversary Exhibition Dec. 1-24: 39th Annual Christmas at the Downtown Gallery Jan. 11-Feb. 9: Loan Exhibition from the Edith Gregor Halpert Collection [California Palace of the Legion of Honor, San Francisco] Jan. 28-Feb. 21: George L. K. Morris Mar. 3-28: Supplement to the Rattner Exhibition May 12-June 5: New York City: Paintings, 1913-1963, by American Artists

1965 -- Jan. 5-23: Charles Sheeler and Yasuo Kuniyoshi Nov. 30-Dec. 18: Warner Brothers Co. Mural by Willard Cummings and Emilio A. Serio Mar. 23-Apr. 17: John Storrs Sept. 8-Oct. 2: A Gallery Survey of American Art [inaugural show, Ritz Tower Concourse, 465 Park Avenue] Nov. 3-20: Edward Stasack Nov. 30-Dec. 18: 40th Annual Christmas at the Downtown Gallery

1966 -- Nov. 5-Dec. 12: Morris Broderson Oct. 18-Nov. 12: 41st Anniversary Exhibition: Contemporary American Art Mar. 1-26: Balthus: New Paintings, 1963-1966 May 3-27: Charles Sheeler Sept. 20-Oct. 8: "Popular Art" in America, 18-19th Century

1967 -- Apr. 18-May 13: John Storrs Mar. 15-Apr. 8: Arthur Dove Nov. 7-25: O. Louis Guglielmi Sept. 26-Oct. 21: 42nd Anniversary Exhibition Feb. 14-Mar. 11: George L. K. Morris Jan. 10-Feb. 14: William Zorach: The Last Decade Dec.: Gallery Group

1968 -- Sept. 10-Oct. 5: 43rd Anniversary Exhibition

1969 -- Mar.: The Performing Arts
Related Material:
Berman, Avis. Pioneers in American Museums: Edith Halpert. Museum News 54, no. 2 (November/December 1975): 34-37, 61-64.

Bragazzi, Olive. The Story Behind the Rediscovery of William Harnett and John Peto by Edith Halpert and Alfred Frankenstein. American Art Journal 15, no. 3 (Spring 1984): 51-65.

Tepfer, Diane. Edith Gregor Halpert and the Downtown Gallery/Downtown, 1926-1940: A Study in American Art Patronage. Ph.D. diss., University of Michigan, 1989.

Edith Gregor Halpert, interview by Harlan Phillips, 1962-1963. Oral History Program, Archives of American Art, Smithsonian Institution.

Edith Gregor Halpert, interview by Harlan Phillips, January 20, 1965. New Deal and the Arts Project, Archives of American Art, Smithsonian Institution.

Edith Gregor Halpert, lecture delivered at the Brooklyn Museum of Art, October 19, 1959, on the 1959 American National Art Exhibition in Moscow. Tape-recorded by the Archives of American Art, Smithsonian Institution, and transcribed by the the Downtown Gallery staff.

In addition, the Archives of American Art has among its collections personal papers and oral history interviews of artists and collectors associated with the Downtown Gallery. Researchers are advised to conduct a name search in the Smithsonian Institution Research Information System (SIRIS).
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (ND-1- ND-71), the mojority of which was subsequently donated. Loaned materials not donated at a later date remain with the lender and are not described in the container listing of this finding aid.
Provenance:
Between 1957 and 1967, the Downtown Gallery loaned portions of its records to the Archives of American Art for microfilming. Because the microfilming was done in increments, the material was not always filmed in logical sequence, and overlapping and duplication of records occurred. Since files loaned for microfilming were, for the most part, still working records used to conduct ongoing gallery business, their contents changed and shifted over time. After Edith Halpert's death in 1970, the records of the Downtown Gallery were received by the Archives of American Art, 1972-1978, as a gift from her niece and executor, Nathaly Baum. In addition to the previously microfilmed material, the gift includes correspondence, inventories and sales records, financial records, photographs, and printed matter, as well as artifacts.One additional document received 2016 by Karen Freeman, daughter of Arthur H. Freeman, who did business at L.D. Landau and Co. Freeman represented halpert as an insurance agent.
Restrictions:
The microfilm of this collection has been digitized and is available online via the Archives of American Art website.
Rights:
The Downtown Gallery records are owned by the Archives of American Art, Smithsonian Institution. Rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws. Prior to publishing information regarding sales transactions, researchers are responsible for obtaining written permission from both artist and purchaser involved. If it cannot be established after a reasonable search whether an artist or purchaser is living, it can be assumed that the information may be published sixty years after the date of sale.
Topic:
Art dealers -- New York (State) -- New York  Search this
Fraktur art  Search this
Art -- Collectors and collecting -- United States  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Printmakers -- United States  Search this
Sculptors -- United States  Search this
Art, Modern -- 20th century -- United States  Search this
Painters -- United States  Search this
Artists -- United States  Search this
Weather vanes  Search this
Chalkware  Search this
Figureheads of ships  Search this
Folk art -- United States  Search this
Folk artists  Search this
Genre/Form:
Video recordings
Photographs
Motion pictures (visual works)
Citation:
Downtown Gallery records, 1824-1974, bulk 1926-1969. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.downgall
See more items in:
Downtown Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-downgall
Additional Online Media:

Hartley, Marsden

Collection Creator:
Downtown Gallery  Search this
Container:
Reel 5574 (Box 38), Frame 1006-1191
Type:
Archival materials
Date:
undated, 1908-1972
Collection Restrictions:
The microfilm of this collection has been digitized and is available online via the Archives of American Art website.
Collection Rights:
The Downtown Gallery records are owned by the Archives of American Art, Smithsonian Institution. Rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws. Prior to publishing information regarding sales transactions, researchers are responsible for obtaining written permission from both artist and purchaser involved. If it cannot be established after a reasonable search whether an artist or purchaser is living, it can be assumed that the information may be published sixty years after the date of sale.
Collection Citation:
Downtown Gallery records, 1824-1974, bulk 1926-1969. Archives of American Art, Smithsonian Institution.
See more items in:
Downtown Gallery records
Downtown Gallery records / Series 3: Notebooks / 3.2: Artist Notebooks
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-downgall-ref870

Macbeth Gallery records

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Andrew Dasburg and Grace Mott Johnson papers

Creator:
Dasburg, Andrew, 1887-1979  Search this
Names:
Carlson, John F., 1874-1945  Search this
Cramer, Florence Ballin, 1884-1962  Search this
Davidson, Florence Lucius, d. 1962  Search this
Davidson, Jo, 1883-1952  Search this
Frankl, Walter  Search this
Hartley, Marsden, 1877-1943  Search this
Howard, Lila  Search this
Johnson, Grace Mott, 1882-1967  Search this
Kuhn, Vera, d. 1961  Search this
Lockwood, Ward  Search this
Luhan, Mabel Dodge, 1879-1962  Search this
McFee, Henry Lee, 1886-1953  Search this
Riley, Mary G., 1883-1939  Search this
Simonson, Lee, 1888-  Search this
Sterling, Lindsey, 1876-1931  Search this
Wright, Alice Morgan, 1881-1975  Search this
Extent:
8.8 Linear feet
Type:
Archival materials
Collection descriptions
Poetry
Diaries
Sketchbooks
Photographs
Date:
1833-1980
bulk 1900-1980
Summary:
The papers of painter Andrew Dasburg and his wife and sculptor Grace Mott Johnson date from 1833 to 1980 (bulk 1900 to 1980), and measure 8.8 linear feet. The collection documents each artist's career and personal lives, including their brief marriage and their friendships with many notable artists in the New Mexico and New York art colonies during the early twentieth century. The papers of Dasburg (6 linear feet) and Johnson (2.8 linear feet) include biographical materials; extensive correspondence with family, friends, and fellow artists, such as John F. Carlson, Mabel Dodge Luhan, Marsden Hartley, Henry Lee McFee, and Ward Lockwood; writings by Dasburg, Johnson, and others; scattered legal, financial, and business records; clippings; exhibition materials; numerous photographs of Johnson and Dasburg, friends, family, and artwork; and original artwork, including two sketchbooks by Johnson.
Scope and Content Note:
The papers of painter Andrew Dasburg and sculptor Grace Mott Johnson date from 1833 to 1980, with the bulk of the materials dating from 1900 to 1980, and measure 8.8 linear feet. The collection is divided into the papers of Andrew Dasburg (6 linear feet) and the papers of Grace Mott Johnson (2.8 linear feet), and documents each artist's career and personal lives, including their brief marriage, and friendships with many notable artists in New Mexico and New York art colonies during the early twentieth century. Found are scattered biographical, legal, and financial materials. Extensive correspondence (particularly in Dasburg's papers) is with family, friends, and fellow artists, such as John F. Carlson, Florence Ballin Cramer, Mabel Dodge Luhan, Marsden Hartley, Henry Lee McFee, Vera Spier Kuhn, and Ward Lockwood. Dasburg's papers also include letters to Johnson and his two later wives.

Johnson's correspondence is also with numerous artist friends and others, including John F. and Margaret Carlson, Florence Ballin Cramer, Jo Davidson, Florence Lucius, Walter Frankl, Lila Wheelock Howard, Henry Lee McFee, Mary Riley, Lee Simonson, Lindsey Morris Sterling, Alice Morgan Wright, Mabel Dodge Luhan, and Vera Spier Kuhn. Letters to her son Alfred are quite detailed and revealing. Writings are by Dasburg, Johnson, and others. Johnson's writings include a very brief diary and her poetry. Writings by others are about the Taos and New Mexico art communities. Printed materials about both artists include clippings and exhibition catalogs. There are numerous photographs of Dasburg and Johnson, individually and together, and with friends and family. Of note are a group photograph of Birge Harrison's art class in Woodstock, New York, which includes Johnson and Dasburg, and a photograph of Dasburg with friends Konrad Cramer and John Reed. Dasburg's papers also include snapshots of Florence Lucius, Konrad and Florence Ballin Cramer, Frieda and D. H. Lawrence, and Mabel Dodge Luhan. Original artwork by the two artists include two sketchbooks by Johnson and three prints and two drawings by Dasburg.
Arrangement:
The collection is arranged into 2 series of each artist's papers:

Series 1: Andrew Dasburg Papers, circa 1900-1980 (Box 1-7; 6.0 linear feet)

Series 2: Grace Mott Johnson Papers, 1833-1963 (Box 7-10; 2.8 linear feet)
Biographical Note:
Andrew Michael Dasburg (1887-1979) was born in Paris, France, to German parents. After his father died and when he was five, Dasburg and his mother moved to New York City. In 1902 Dasburg started attending classes at the Art Students' League and studied with Kenyon Cox and Frank Du Mond. He also took night classes with Robert Henri. In 1907 he received a scholarship to the Art Students' League summer school in Woodstock, New York and spent three summers studying there in Birge Harrison's painting class. While in school he became friends with many young artists, including Morgan Russell and his future wife, Grace Mott Johnson.

Grace Mott Johnson (1882-1967) was born in New York City. She began drawing when she was four years old, and when the family moved to a farm in 1900 she enjoyed sketching horses and other farm animals. At the age of 22 she left home to study at the Art Students' League with sculptors Gutzon Borglum and James Earle Fraser, and also attended Birge Harrison's painting class in Woodstock. Throughout her career she would sculpt animals from memory, and would often attend circuses and farms for inspiration.

In 1909 Johnson and Dasburg went to Paris and joined the modernist circle of artists living there, including Morgan Russell, Jo Davidson, and Arthur Lee. During a trip to London that same year they were married. Johnson returned to the United States early the next year, but Dasburg stayed in Paris where he met Henri Matisse, Gertrude and Leo Stein, and became influenced by the paintings of Cezanne and Cubism. He returned to Woodstock, New York in August and he and Johnson became active members of the artist community. In 1911 their son Alfred was born. Both Dasburg and Johnson showed several works at the legendary Armory Show in 1913, and Dasburg also showed at the MacDowell Club in New York City, where he met the journalist and activist John Reed who later introduced him to Mabel Dodge (Luhan), a wealthy art patron and lifelong friend. In 1914 Dasburg met Alfred Stieglitz and became part of his avant-garde circle. Using what he had seen in Paris, Dasburg became one of the earliest American cubist artists, and also experimented with abstraction in his paintings.

Dasburg and Johnson lived apart for most of their marriage. By 1917 they had separated and Dasburg began teaching painting in Woodstock and in New York City. In 1918 he was invited to Taos, New Mexico by Mabel Dodge, and returning in 1919, Johnson joined him there for a period of time. Also in 1919, Dasburg was one of the founding members of the Woodstock Artists Association with John F. Carlson, Frank Swift Chase, Carl Eric Lindin, and Henry Lee McFee. In 1922 Dasburg and Johnson divorced, and also at that time he began living most of the year in Santa Fe with Ida Rauh, spending the rest of the year in Woodstock and New York City. Dasburg became an active member of the Santa Fe and the Taos art colonies, befriending many artists and writers living in these communities, and remaining close friends with Mabel Dodge Luhan. Here he moved away from abstraction, and used the southwestern landscape as the inspiration for his paintings.

In 1928 he married Nancy Lane. When that marriage ended in 1932, he moved permanently to Taos, and with his third wife, Marina Wister, built a home and studio there. Dasburg periodically taught art privately and at the University of New Mexico. In 1937 he was diagnosed with Addison's disease, which left him unable to paint again until 1946. In 1945 he and his wife Marina separated. Dasburg was recognized for his career as an artist in a circulating retrospective organized by the American Federation of Arts in 1959. He also had retrospectives in Taos in 1966 and 1978. His artwork influence several generations of artists, especially in the southwest, and he continued creating art until his death in 1979 at the age of 92.

Grace Mott Johnson lived in the Johnson family home in Yonkers, New York during the 1920s and later moved to Pleasantville, New York. In 1924 she went to Egypt to study ancient Egyptian sculpture. During the 1930s she became a civil rights activist. She produced very little art during the last twenty years of her life.
Related Material:
Also found in the Archives of American Art are two oral history interviews with Andrew Dasburg, July 2, 1964 and March 6, 1974. Additional related collections at other repositories include the Andrew and Marina Wister Dasburg Papers at the New Mexico State Archives, the Andrew Dasburg Papers at Syracuse University Library, and the Grace Mott Johnson Papers at the Beinecke Rare Book and Manuscript Library, Yale University.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming. Reel 2803 contains photocopies of ten Morgan Russell letters to Dasburg. Reels 4276-4278 include biographical material, subject files, photographs, correspondence, writings, and exhibition material. The photocopies on reel 2803 were discarded after microfilming, and the items on 4276-4278 were returned to the lender. This material is not described in the collection container inventory.
Provenance:
The Andrew Dasburg and Grace Mott Johnson papers were donated by their son, Alfred Dasburg, in 1980. Syracuse Univresity lent materials for microfilming in 1978 and 1989.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Andrew Dasburg and Grace Mott Johnson papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Artist colonies -- New York (State)  Search this
Artist colonies -- New Mexico  Search this
Painters -- New Mexico  Search this
Works of art  Search this
Sculptors -- New York (State)  Search this
Painters -- New York (State)  Search this
Genre/Form:
Poetry
Diaries
Sketchbooks
Photographs
Citation:
Andrew Dasburg and Grace Mott Johnson papers, 1833-1980 (bulk 1900-1980). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dasbandr
See more items in:
Andrew Dasburg and Grace Mott Johnson papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-dasbandr
Additional Online Media:

Elizabeth McCausland papers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

John Henry Bradley Storrs papers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rockwell Kent papers

Creator:
Kent, Rockwell, 1882-1971  Search this
Names:
American Artists' Congress  Search this
Artists League of America  Search this
Artists' Union (New York, N.Y.)  Search this
Citizens' Committee for Government Arts Projects  Search this
Farmers Union of the New York Milk Shed  Search this
Federal Art Project  Search this
Federal Writers' Project  Search this
International Workers Order  Search this
Macbeth Gallery  Search this
National Farmers' Union (U.S.)  Search this
National Maritime Union of America  Search this
United American Artists  Search this
United Office and Professional Workers of America  Search this
United Scenic Artists  Search this
Boyesen, Bayard  Search this
Chamberlain, J. E.  Search this
Chase, William Merritt, 1846-1916  Search this
Cleland, T. M. (Thomas Maitland), 1880-1964  Search this
Daniel, Charles, 1878-1971  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this
Fitzgerald, James, 1899-1971  Search this
Freuchen, Peter, 1886-1957  Search this
Gellert, Hugo, 1892-1985  Search this
Gottlieb, Harry, 1895-  Search this
Hartley, Marsden, 1877-1943  Search this
Hays, Lee, 1914-1981  Search this
Henri, Robert, 1865-1929  Search this
Jones, Dan Burne  Search this
Keller, Charles, 1914-2006  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Nearing, Helen  Search this
Nearing, Scott, 1883-1983  Search this
Pach, Walter, 1883-1958  Search this
Phillips, Duncan, 1886-1966  Search this
Rasmussen, Knud, 1879-1933  Search this
Reeves, Ruth, 1892-1966  Search this
Robeson, Paul, 1898-1976  Search this
Roosevelt, Franklin D. (Franklin Delano), 1882-1945  Search this
Ruggles, Carl, 1876-1971  Search this
Seeger, Pete, 1919-2014  Search this
Stefansson, Vilhjalmur, 1879-1962  Search this
Untermeyer, Louis, 1885-1977  Search this
Wildenstein, Felix, 1883-1952  Search this
Zigrosser, Carl, 1891-  Search this
Extent:
88 Linear feet
Type:
Archival materials
Collection descriptions
Poems
Sketches
Business records
Photographs
Drawings
Date:
circa 1840-1993
bulk 1935-1961
Summary:
The Rockwell Kent papers measure 88.0 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.
Scope and Content Note:
The Rockwell Kent papers measure 88 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.

Circumstances surrounding the acquisition of the papers are highlighted in an article by Garnett McCoy ("The Rockwell Kent Papers," in the Archives of American Art Journal, 12, no. 1 [January 1972]: 1-9), recommended reading for researchers interested in the collection. The collection is remarkably complete, for in the mid 1920s Kent began keeping carbon copies of all outgoing letters, eventually employing a secretary (who became his third wife and continued her office duties for the remainder of Kent's life).

Series 1: Alphabetical Files contain Kent's personal and professional correspondence, along with business records of the dairy farm and associated enterprises; also included are printed matter on a wide variety of topics and promotional literature relating to organizations and causes of interest to him. Voluminous correspondence with his three wives, five children, and other relatives, as well as with literally hundreds of friends, both lifelong and of brief duration, illuminates Kent's private life and contributes to understanding of his complex character. Among the many correspondents of note are: his art teachers William Merritt Chase, Robert Henri, and Kenneth Hayes Miller; fellow artists Tom Cleland, Arthur B. Davies, James Fitzgerald, Hugo Gellert, Harry Gottleib, Marsden Hartley, Charles Keller, and Ruth Reeves; collectors Duncan Phillips and Dan Burne Jones; critics J. E. Chamberlain and Walter Pach; and dealers Charles Daniel, Felix Wildenstein, and Macbeth Galleries. Kent corresponded with such diverse people as Arctic explorers Peter Freuchen, Knud Rasmussen, and Vilhjalmar Steffanson; composer Carl Ruggles and songwriters Lee Hays and Pete Seeger; civil rights pioneers Paul Robeson and Dr. W. E. B. Du Bois; writers Bayard Boyesen, Scott and Helen Nearing, and Louis Untermeyer; and art historian and print curator Carl Zigrosser.

Kent's interest and involvement in the labor movement are reflected in correspondence with officials and members of a wide variety and large number of unions and related organizations, among them: the Farmers' Educational and Cooperative Union of America, Farmers' Union of the New York Milk Shed, International Workers Order, National Maritime Union, and United Office and Professional Workers of America. Of special interest is his participation, often in leadership roles, in various attempts to organize artists. Files on the American Artists' Congress, Artists League of America, The Artists Union, United American Artists, and United Scenic Artists contain particularly valuable material on the movement.

A supporter of New Deal efforts to aid artists, Kent was actively interested in the various programs and often was critical of their limitations; he advocated continuing federal aid to artists after the Depression abated. The Kent papers include correspondence with the Federal Arts Project, Federal Fine Arts Project, Federal Writers Project, and the War Department, as well as correspondence with the Citizens' Committee for Government Art Projects and President Franklin D. Roosevelt on the subject.

Kent's professional correspondence documents exhibitions, sales, consignments, and reproduction of prints and paintings. He kept meticulous records of his advertising commissions and illustration work. Detailed correspondence with publishers and printers indicates Kent's involvement in the technical aspects of production and provides a good overview of the publishing industry during the mid-twentieth century.

Business records of Asgaard Farm include records of the dairy and transfer of ownership to its employees, tax and employee information, and documents concerning several related business ventures such as distributor ships for grain, feed, and farm implements.

Series 2: Writings consists of notes, drafts, and completed manuscripts by Rockwell Kent, mainly articles, statements, speeches, poems, introductions, and reviews. The Kent Collection given to Friendship House, Moscow, in 1960, was augmented later by a set of his publications and the illustrated manuscripts of many of his monographs. Also included are a small number of manuscripts by other authors.

Series 3: Artwork consists mainly of drawings and sketches by Kent; also included are works on paper by other artists, many of whom are unidentified, and by children.

Series 4: Printed Matter consists of clippings, exhibition catalogs and announcements, brochures, broadsides, programs, and newsletters. These include items by and about Kent and his family, as well as articles written and/or illustrated by him, and reviews of his books. There is also material on a variety of subjects and causes of interest to him. Additional printed matter is included among the alphabetical files, mainly as attachments to correspondence.

Series 5: Miscellaneous includes biographical material, legal documents, and memorabilia. Artifacts received with papers include textile samples, a silk scarf, dinnerware, ice bucket, and rubber stamp, all featuring designs by Rockwell Kent. Also with this series are a variety of documents including a phrenological analysis of an ancestor, lists of supplies for expeditions, a hand-drawn map of an unidentified place, and technical notes regarding art materials and techniques.

Series 6: Photographs includes photographs of Kent, his family and friends, travel, and art number that over one thousand. Also included here are several albums of family and travel photographs.
Arrangement:
The collection is arranged into six series. Series 1 is arranged alphabetically. The arrangement of the remaining series is explained in each series description. Note that sealed materials that became available in 2000 were microfilmed separately on reels 5740-5741, but have integrated into this finding aid.

Series 1: Alphabetical Files, circa 1900-1971, undated (Reels 5153-5249, 5256, 5740-5741)

Series 2: Writings, 1906-1978, undated (Reels 5249-5252, 5741)

Series 3: Art Work, 1910-1972, undated (Reels 5252, 5741)

Series 4: Printed Matter, 1905-1993, undated (Reels 5252-5254)

Series 5: Miscellaneous, 1859-1969, undated (Reels 5254, 5741)

Series 6: Photographs, circa 1840-1970, undated (Reels 5254-5255, 5741)
Biographical Note:
Rockwell Kent (1882-1971), an energetic and multitalented man, pursued many interests and careers during his very long and active life. At various times he was an architect, draftsman, carpenter, unskilled laborer, painter, illustrator, printmaker, commercial artist, designer, traveler/explorer, writer, professional lecturer, dairy farmer, and political activist.

While studying architecture at Columbia University, Kent enrolled in William Merritt Chase's summer school at Shinnecock Hills, Long Island. He then redirected his career ambitions toward painting and continued to study with Chase in New York. Kent spent a summer working and living with Abbott H. Thayer in Dublin, New Hampshire, and attended the New York School of Art, where Robert Henri and Kenneth Hayes Miller were his teachers.

Critically and financially, Kent was a successful artist. He was very well known for his illustration work--particularly limited editions of the classics, bookplates, and Christmas cards. He was a prolific printmaker, and his prints and paintings were acquired by many major museums and private collectors. During the post-World War II era, Kent's political sympathies resulted in the loss of commissions, and his adherence to artistic conservatism and outspoken opposition to modern art led to disfavor within art circles. After many years of declining reputation in this country and unsuccessful attempts to find a home for the Kent Collection, Kent gave his unsold paintings--the majority of his oeuvre--to the Soviet Union, where he continued to be immensely popular.

An avid traveler, Kent was especially fascinated by remote, Arctic lands and often stayed for extended periods of time to paint, write, and become acquainted with the local inhabitants. Between 1918 and 1935, he wrote and illustrated several popular books about his experiences in Alaska, Tierra del Fuego, and Greenland. In the 1930s and 1940s, Kent was much in demand as a lecturer, making several nationwide tours under the management of a professional lecture bureau; he spoke mainly about his travels, but among his standard lectures were some on "art for the people."

In 1927, Kent purchased Asgaard Farm at AuSable Forks, New York, in the Adirondacks, where he lived for the remainder of his life, operating a modern dairy farm on a modest scale for many years.

As a young man, Kent met Rufus Weeks, became committed to social justice, and joined the Socialist Party. Throughout his life, he supported left-wing causes and was a member or officer of many organizations promoting world peace and harmonious relations with the Soviet Union, civil rights, civil liberties, antifascism, and organized labor. Kent was frequently featured as a celebrity sponsor or speaker at fund-raising events for these causes. In 1948, he ran unsuccessfully as the American Labor Party's candidate for Congress. Kent's unpopular political views eventually led to the dissolution of his dairy business, resulted in a summons to appear before the House Un-American Activities Committee, and prompted the U.S. State Department to deny him a passport, an action that subsequently was overturned by the U.S. Supreme Court.

Kent wrote two autobiographies, This Is My Own (1940) and It's Me, O Lord (1955). In 1969, he was the subject of an oral history interview conducted by Paul Cummings for the Archives of American Art.

1882 -- born, Tarrytown, New York

1887 -- death of Rockwell Kent, Sr.

1894-1896 -- attended Cheshire Academy

1895 -- toured Europe with Aunt Jo

1896 -- attended Horace Mann School, New York City

1900-1902 -- studied architecture at Columbia University

1900-1902 -- attended William Merritt Chase's summer school, Shinnecock Hills, Long Island

1903 -- studied with William Merritt Chase, New York City

1904 -- first sale of a painting

1904 -- met Rufus Weeks and attended first Socialist meeting

1905 -- lived and worked with Abbott H. Thayer, Dublin, New Hampshire

1905 -- first painting trip to Monhegan Island, Maine

1907 -- first one-man show, Claussen Galleries, New York City

1908 -- marriage to Kathleen Whiting

1908 -- studied with Robert Henri

1908 -- joined Socialist Party

1909 -- birth of Rockwell, III

1910 -- ran Monhegan Summer School of Art

1910 -- first trip to Newfoundland

1910 -- helped to organize first Independent Exhibition

1911 -- birth of Kathleen

1912 -- moved to Winona, Minnesota

1913 -- birth of Clara

1914 -- settled in Newfoundland

1915 -- deported from Newfoundland

1915 -- birth of Barbara

1917 -- served as full-time organizer and administrator of Independent Exhibition

1918-1919 -- in Alaska with son Rocky

1919 -- purchased Egypt Farm, Arlington, Vermont

1919 -- incorporated self

1920 -- publication of Wilderness

1920 -- birth of Gordon

1922 -- traveled to Tierra del Fuego

1924 -- publication of Voyaging

1925 -- trip to France

1925 -- divorced from Kathleen

1926 -- marriage to Frances Lee

1926 -- traveled to Ireland

1927 -- purchased Asgaard Farm, AuSable, New York

1927 -- editor of Creative Art

1927 -- helped organize National Gallery of Contemporary Art, Washington, D.C.

1929 -- sailed to Greenland on Direction

1930 -- publication of N by E

1932-1933 -- returned to Greenland

1934-1935 -- final trip to Greenland

1935 -- publication of Salamina

1936 -- trip to Puerto Rico

1937 -- trip to Brazil

1937-1938 -- Post Office Department mural commission and controversy over Eskimo-language message interpreted as encouraging Puerto Rican independence

1939 -- divorced from Frances

1939 -- General Electric Co. mural commission for New York World's Fair

1940 -- publication of This Is My Own

1940 -- marriage to Shirley Johnstone (Sally)

1942 -- solo exhibition, Know and Defend America, at Wildenstein Galleries, New York City

1946 -- elected to Executive Committee of American Labor Party

1948 -- congressional candidate, American Labor Party

1948 -- transferred ownership of dairy to remaining employees after boycott resulting from support of Wallace for president

1949 -- attended World Congress for Peace, Paris

1950-1958 -- denied U.S. passport; lawsuit, appeals, and Supreme Court decision reinstating right to travel

1953 -- testified before House Un-American Activities Committee

1955 -- publication of It's Me, O Lord

1958 -- one-man show at Hermitage Museum, Leningrad

1959 -- publication of Of Men and Mountains

1960 -- gift of Kent Collection to Friendship House, Moscow

1960 -- exhibition at Pushkin Museum, Moscow

1963 -- publication of Greenland Journal

1966 -- elected to Academy of Arts of the USSR

1967 -- awarded Lenin Peace Prize, Moscow

1969 -- oral history interview, Archives of American Art

1969 -- home at Asgaard destroyed by fire; papers survived with some water and smoke damage

1969 -- first installment of Rockwell Kent Papers donated to Archives of American Art

1971 -- died, Plattsburgh, New York

1971 -- gift of additional Rockwell Kent Papers to Archives of American Art

1979 -- gift of textile samples to the Archives of American Art

1996 -- gift of additional Rockwell Kent Papers to Archives of American Art

2000 -- death of Sally [Shirley Johnstone] Kent Gorton

2000 -- previously sealed correspondence of wives Frances and Sally (Series 1) opened to researchers

2001 -- gift of additional Rockwell Kent papers to the Archives of American Art from the Estate of Sally Kent [Shirley Johnstone] Gorton
Provenance:
In 1969, Rockwell Kent donated his papers to the Archives of American Art; textile samples were received in 1979, and his widow gave additional papers in 1971 and 1996. Letters to Rockwell Kent from wives Frances and Sally, sealed during Sally Kent Gorton's lifetime, became available for research after her death in 2000, and further material was donated to the Archives of American Art in 2001 by the Estate of Sally Kent [Shirley Johnstone] Gorton.
Restrictions:
The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized requires an appointment.
Rights:
The Rockwell Kent papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Designers -- New York (State)  Search this
Mural painting and decoration  Search this
Painters -- New York (State)  Search this
Politics and culture  Search this
Authors -- New York  Search this
Art, Modern -- 20th century -- United States -- Political aspects  Search this
Dairy farms  Search this
Federal aid to the arts  Search this
Illustrators -- New York (State)  Search this
Illustration of books  Search this
Works of art  Search this
World War, 1939-1945 -- Civilian relief  Search this
Labor unions  Search this
Art and war  Search this
Commercial art  Search this
World War, 1939-1945 -- Art and the war  Search this
Genre/Form:
Poems
Sketches
Business records
Photographs
Drawings
Citation:
Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kentrock
See more items in:
Rockwell Kent papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kentrock
Additional Online Media:

Typescripts of Letters to Mathilde Rice

Collection Creator:
McCausland, Elizabeth, 1899-1965  Search this
Container:
Box 16, Folder 36
Type:
Archival materials
Date:
circa 1925-1928
Collection 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.
Collection Rights:
The Elizabeth McCausland papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Elizabeth McCausland papers, 1838-1995, bulk 1920-1960. Archives of American Art, Smithsonian Institution.
See more items in:
Elizabeth McCausland papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-mccaeliz-ref620

John Frederick Kensett, Childe Hassam, Marsden Hartley / Babcock Galleries

Author:
Babcock Galleries  Search this
Subject:
Kensett, John Frederick 1816-1872  Search this
Hassam, Childe 1859-1935  Search this
Hartley, Marsden 1877-1943  Search this
Physical description:
48 p. : col. ill., ports. ; 22 x 23 cm
Type:
Catalogs
Date:
2001
19th century
20th century
Topic:
Art, American  Search this
Call number:
N6510 .B33 2001
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_615310

Late nineteenth & twentieth-century American masters and a show of sixteen Marsden Hartley silverpoints : October 3-25, 1989

Title:
Late nineteenth and twentieth-century American masters and a show of sixteen Marsden Hartley Silverpoints
Inaugural exhibition celebrating our move to expanded premises
Author:
Sid Deutsch Gallery (New York, N.Y.)  Search this
Subject:
Hartley, Marsden 1877-1943  Search this
Physical description:
40 p. : ill. (chiefly col.) ; 28 cm
Type:
Exhibitions
Date:
1989
[1989]
20th century
19th century
Topic:
Art, American  Search this
Call number:
N6512 .S4522 1989
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_652446

Inaugural exhibition celebrating our move to expanded premises : late nineteenth & twentieth-century American masters, and a show of sixteen Marsden Hartley silverpoints : Sid Deutsch Gallery, October 3-25, 1989

Author:
Sid Deutsch Gallery (New York, N.Y.)  Search this
Subject:
Hartley, Marsden 1877-1943  Search this
Physical description:
40 p. : chiefly ill. (some col.) ; 28 cm
Type:
Exhibitions
Date:
1989
[1989]
19th century
20th century
Topic:
Art, American  Search this
Call number:
N6510 .I35 1989
N6510.I35 1989
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_386405

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