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Bernard Karfiol papers

Creator:
Karfiol, Bernard, 1886-1952  Search this
Names:
Field, Hamilton Easter  Search this
Hartley, Marsden, 1877-1943  Search this
Stieglitz, Alfred, 1864-1946  Search this
Extent:
302 Items ((on 4 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1904-1958
Scope and Contents:
Correspondence, passport, notes, sketchbooks, scrapbook, photographs, and printed material.
REELS NKA 1, NKA 2, N60/1: Correspondence with Hamilton Easter Field, Marsden Hartley, Alfred Stieglitz, and others; 15 sketchbooks; scrapbook; photographs; notes; and clippings.
REEL 2814: Karfiol's passport, April 6, 1906; and a passport application January 13, 1925.
Biographical / Historical:
Painter; Irvington-on-Hudson, N.Y.
Provenance:
Donated and lent for microfilming 1958-1960 by Mrs. Bernard Karfiol.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Painters -- New York (State) -- Irvington-on-Hudson  Search this
Topic:
Painting, Modern -- 20th century -- United States  Search this
Identifier:
AAA.karfbern
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96debc58b-5f56-402c-8c8a-5d3451905291
EDAN-URL:
ead_collection:sova-aaa-karfbern

Maurice Brazil and Charles Prendergast selected papers

Creator:
Prendergast, Maurice Brazil, 1858-1924  Search this
Prendergast, Charles, 1863-1948  Search this
Names:
Brooks, Van Wyck, 1886-1963  Search this
Glackens, Edith  Search this
Glackens, Ira, 1907-1990  Search this
Glackens, William J., 1870-1938  Search this
Hartley, Marsden, 1877-1943  Search this
Pach, Walter, 1883-1958  Search this
Sargent, John Singer, 1856-1925  Search this
Extent:
1 Microfilm reel
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
[ca.1865]-1992
Scope and Contents:
Selected material from the Prendergast Archive, Williams College, Williamstown, Mass. Included are: a descriptive list of contents on the microfilm; letters from Maurice to his brother Charles during trips to Paris, 1907, and Venice, 1911-1912, and a draft of a letter to William Glackens about Marsden Hartley, ca. 1908, with transcriptions by the Prendergast Archive; letters to Charles and his wife, Eugenie, 1900-1956, from John Singer Sargent, Van Wyck Brooks, Walter Pach, Ira Glackens, Edith Glackens, and others. Also included are Maurice's address book, ca. 1914-1923?; Charles' diaries of trips to France, 1927 and 1929, containing 3 pencil sketches;
Maurice's and Charles' diary and addresses, 1918-1925; and a partial record of the Prendergast/Germaine family history recorded in a Bible and birth and death documents of family members. Miscellany pertaining to Maurice includes a sketch on his Macbeth Gallery exhibition catalog, 1900; an informal translation of an article on Paul Cezanne, ca. 1908; a notebook p. inscribed with his name and address; and a bronze medal awarded for third prize in an American oil painting exhibition at the Corcoran Gallery of Art.
Miscellany of Charles includes his driver's license, a sketch; notes; and signatures. Also included are a photograph of their painting "The Spirit of the Hunt," inscribed by them to a friend, 1918; printed material collected by them; a list of their books; photographs of Maurice, Charles, family, friends, and of works of art by other artists.
Biographical / Historical:
Maurice: painter, watercolorist, illustrator and graphic artist; Boston, Mass. and New York, N.Y. Charles: painter, sculptor, craftsman, and framemaker; Boston, Mass., New York, N.Y. and Westport, Conn. Maurice was an Impressionist and early modernist. He painted scenes along the Massachusetts and Maine coasts as well as in Paris, Venice, Rome, and French coastal towns; exhibited with "The Eight" (1908), and was a contributor to the Armory show (1913). Charles achieved prominence as a craftsman and framemaker (1891-1912), and later specialized in painted, gilded, and incised panels of exotic and folk subjects (1912-1948).
Provenance:
Loaned for microfilming in 1992 by the Prendergast Archive and Study Center. Located in the Williams College Museum of Art, Williamstown, Mass., it contains archival materials pertaining to the Prendergasts, donated by Mrs. Charles Prendergast, as well as research materials and files amassed for the publication of MAURICE BRAZIL PRENDERGAST, CHARLES PRENDERGAST: A CATALOG RAISONNE (1990).
Restrictions:
Patrons must use microfilm copy.
Topic:
Art, Modern -- 19th century -- United States  Search this
Art, Modern -- 20th century -- United States  Search this
Modernism (Art)  Search this
Identifier:
AAA.prenmaur
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99c003508-387b-4bfd-a0b0-07971542a85b
EDAN-URL:
ead_collection:sova-aaa-prenmaur

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, 1900-1992  Search this
Stieglitz, Alfred, 1864-1946  Search this
Weegee, 1899-1968  Search this
Weston, Edward, 1886-1958  Search this
Extent:
45 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Drawings
Photographs
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:

Missing Title

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 Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- New York (State) -- New York  Search this
Art critics -- New York (State) -- New York  Search this
Women art critics  Search this
Topic:
Federal aid to the arts  Search this
Art -- History -- Study and teaching  Search this
Modernism (Art)  Search this
Women art historians  Search this
Women authors  Search this
Function:
Arts organizations
Genre/Form:
Scrapbooks
Drawings
Photographs
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
GUID:
https://n2t.net/ark:/65665/mw9cebe32f8-0180-44bb-a2a8-8ed061f173c1
EDAN-URL:
ead_collection:sova-aaa-mccaeliz
Online Media:

Oral history interview with Kay WalkingStick

Interviewee:
WalkingStick, Kay  Search this
Interviewer:
Riedel, Mija, 1958-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Bryn Mawr College  Search this
Cannabis Gallery  Search this
Danforth Foundation (Saint Louis, Mo.)  Search this
Edward F. Albee Foundation  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
United States. Commission to the Five Civilized Tribes  Search this
Wenger Gallery  Search this
Bach, Dirk, 1961-2012  Search this
Echols, Michael  Search this
Folwell-Turipa, Jody, 1942-  Search this
Hartley, Marsden, 1877-1943  Search this
Joseph (Nez Percé Chief), 1840-1904  Search this
Longfish, George C.  Search this
McKaig, Margaret Emma  Search this
McKaig, Murray Peterson  Search this
Penny, David, (Illustrator)  Search this
Sakiestewa, Ramona  Search this
Smith, Jaune Quick-to-See, 1940-  Search this
Spruance, Benton, 1904-1967  Search this
Urdang, Bertha  Search this
WalkingStick, Charles  Search this
WalkingStick, Simon Ridge  Search this
WalkingStick, Sinom Ralph  Search this
Whitehorse, Emmi  Search this
Extent:
7 Items (Sound recording: 7 sound files (5 hr., 21 min.))
105 Pages (Transcript)
Culture:
Native American  Search this
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Sketchbooks
Date:
2011 December 14-15
Scope and Contents:
An oral history interview of Kay WalkingStick conducted 2011 December 14-15, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at WalkingStick's studio, in Jackson Heights, Queens, New York.
WalkingStick speaks of her childhood experiences and her parents; her grandfather Simon Ridge Walkingstick and jurisprudence; Dartmouth and Indian scholarships; how her parents met; her mother as a big influence; drawing and art in the family; her siblings; Syracuse; outdoors; Onondaga Valley; painting; winning a Scholastic Art Award; moving to Huntington Valley, Pennsylvania; attending Beaver; the 1950s; Pratt; review in Artnews; Danforth Foundation; Christianity; the women's movement; Cannabis Gallery; Native American heritage; Teepee Form and Chief Joseph; using wax; Dawes Commission; influences and artists; Catholicism; Italy; Bowling Green; sketchbooks; eroticism; Edward Albee's summer camp; Wenger Gallery; The Cardinal Points; being biracial; spirituality; Rome; abstraction and patterns; Il Cortile; Cairo; traveling; teaching; Cornell; Stony Brook; photography; technology; social and political commentary in art; changes to artwork over time; landscapes; mountains and the Rockies; Colorado; dialogues with God; symbols; art world; dealers; the WalkingSticks; Late Afternoon on the Rio Grande; art theory; drawing; diptych format; Venere Alpina; Sex, Fear and Aging; prints and books; and curiosity and humor. WalkingStick also recalls Simon Ralph WalkingStick, Margaret Emma McKaig, Charles WalkingStick, Murray Peterson McKaig, Benton Spruance, Michael Echols, Bear Paw, Bertha Urdang, Ramona Sakiestewa, Jody Folwell, Jaune Quick-To-See Smith, Emmi Whitehorse, George Longfish, David Penny, Dirk Bach, Bryn Mawr, and Marsden Hartley.
Biographical / Historical:
Kay WalkingStick (1935- ) is a Cherokee painter and professor in Jackson Heights, New York. Mija Riedel (1958- ) is an independent scholar in San Francisco, California.
General:
Originally recorded as 7 sound files. Duration is 5 hr., 21 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Occupation:
Painters -- New York (State) -- New York  Search this
Topic:
Cherokee artists -- New York (State) -- New York -- Interviews  Search this
Catholicism  Search this
Christianity  Search this
Feminism and art  Search this
Painting  Search this
Photography  Search this
Women artists  Search this
Women painters  Search this
Native American artists  Search this
Genre/Form:
Interviews
Sound recordings
Sketchbooks
Identifier:
AAA.walkin11
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw906bfba9e-867a-4971-b422-993e186ba458
EDAN-URL:
ead_collection:sova-aaa-walkin11
Online Media:

John Quinn ledgers

Creator:
Quinn, John, 1870-1924  Search this
Names:
Armory Show (1913: New York, N.Y.)  Search this
Association of American Painters and Sculptors (New York, N.Y.)  Search this
Durand-Ruel Galleries (New York, N.Y.)  Search this
M. Knoedler & Co.  Search this
Macbeth Gallery  Search this
Montross Gallery  Search this
Penguin Club (New York, N.Y.)  Search this
Photo-Secession Galleries (New York, N.Y.)  Search this
Tiffany Studios  Search this
Cézanne, Paul, 1839-1906  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Derain, André, 1880-1954  Search this
Duchamp-Villon, Raymond, 1876-1918  Search this
Epstein, Jacob, Sir, 1880-1959  Search this
Hartley, Marsden, 1877-1943  Search this
Kuhn, Walt, 1877-1949  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Marin, John, 1870-1953  Search this
Pascin, Jules, 1885-1930  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Redon, Odilon, 1840-1916  Search this
Renoir, Auguste, 1841-1919  Search this
Schamberg, Morton L., 1881-1918  Search this
Severini, Gino, 1883-1966  Search this
Sheeler, Charles, 1883-1965  Search this
Stieglitz, Alfred, 1864-1946  Search this
Villon, Jacques, 1875-1963  Search this
Vollard, Ambroise, 1867-1939  Search this
Weber, Max, 1881-1961  Search this
Extent:
2 Volumes ((ca. 390 p. on 1 microfilm reel))
Type:
Collection descriptions
Archival materials
Volumes
Date:
1909-1924
Scope and Contents:
Ledgers detailing the art purchases of John Quinn. Entries include the Association of American Painters and Sculptors listing purchases from the Armory Show, February to June 1913, of works by Cezanne, Renoir, Raymond Villon-Duchamp, Andre Derain, Jules Pascin, Odilon Redon, Walt Kuhn, Jacques Villon and others. Also entered are purchases from Alfred Stieglitz's Photo-Secession Gallery for paintings by Marsden Hartley, John Marin, Severini and Stanton Macdonald-Wright. Purchases from art dealers include M. Knoedler & Co. (for works by Morton Schamberg), Montross Gallery (for works by Arthur B. Davies, Maurice Pendergast, Walt Kuhn, Charles Sheeler, Max Weber), William Macbeth Gallery, Durand Ruel & Sons, and Ambroise Vollard.
Other entries of note include those for Jacob Epstein, one for Tiffany Studios detailing extensive refurbishing and refinishing of numerous items of furniture, and one for the Penguin Club enumerating the cost incurred for the installation of the VORTICIST EXHIBITION.
Biographical / Historical:
Art patron and lawyer; New York, N.Y.
Provenance:
Lent for microfilming 1986 by Thomas F. Conroy, Quinn's nephew by marriage. Mr. Conroy intends to donate these papers to the New York Public Library where the John Quinn Memorial Collection is housed.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Art patrons  Search this
Topic:
Art -- Collectors and collecting  Search this
Art patronage  Search this
Identifier:
AAA.quinjohl
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw901f74557-f482-4334-a13b-27551e632d6e
EDAN-URL:
ead_collection:sova-aaa-quinjohl

Marsden Hartley letter collection

Creator:
Hartley, Marsden, 1877-1943  Search this
Names:
Newman, Roy  Search this
Rice, Matilda  Search this
Extent:
20 Items ((on 2 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
circa 1930-1941
Scope and Contents:
Letters from Marsden Hartley to Matilda Rice and Roy Newman.
REEL 130: Letters to Matilda Rice (later Mrs. Richard Elliott), written from Berlin, Venice, Paris and Aix-en-Provence. Hartley comments on his daily activities, his life as a painter, his plans to return to America, his friends, painter John Blomshield and bookdealer Daniel J. Meig. (Several of the letters were dated according to the postmarks on accompanying envelopes. It is not clear whether these were the original envelopes.)
REEL D10, fr. 1251-1271: Letters to composer Roy Newman, 1938-1941, a note, and a poem.
Biographical / Historical:
Painter; New York, N.Y.
Provenance:
Letters to Rice (later Mrs. Richard Elliot) were donated 1966 to the NCFA Library by Mrs. Elliot, and transferred 1971 to AAA. The Newman letters were donated 1956 by Mrs. Newman, through Luther Mansfield, Williams College.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Painters  Search this
Topic:
Painting, American  Search this
Identifier:
AAA.hartmars
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9dfcfab81-d302-4c6a-b543-04f884027617
EDAN-URL:
ead_collection:sova-aaa-hartmars

Oral history interview with Erle Loran

Interviewee:
Loran, Erle, 1905-1999  Search this
Interviewer:
Chipp, Herschel Browning  Search this
Names:
Minneapolis School of Art  Search this
Booth, Cameron, 1892-1980  Search this
Cézanne, Paul, 1839-1906  Search this
Hartley, Marsden, 1877-1943  Search this
Hofmann, Hans, 1880-1966  Search this
Extent:
119 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1981 June 18
Scope and Contents:
An interview of Erle Loran conducted 1981 June 18, by Herschel Chipp, for the Archives of American Art.
Loran speaks of his education, his studies with Cameron Booth and Hans Hofmann, life in Europe on a grant, his study of Cezanne, including his book, "Cezanne's Composition," and his return to New York. He discusses teaching at the Minneapolis School of Art, the WPA Art School, in Minneapolis, and the University of California, at Berkeley. He comments on meeting Marsden Hartley, American midwestern painters, ghost towns as subject matter for paintings, American politics in the 1930s, and surrealism in America.
Biographical / Historical:
Erle Loran (1905-1999) was a painter and art historian of Minneapolis, Minn. and Berkeley, Calif.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 10 digital wav files. Duration is 5 hrs., 14 min.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript: Patrons must use microfilm copy.
Occupation:
Art historians -- California -- Interviews  Search this
Topic:
Surrealism  Search this
Art, American -- Minnesota  Search this
Painters -- California -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.loran81
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93c3620a5-9f59-4dbd-ad07-1f6e9538dcc3
EDAN-URL:
ead_collection:sova-aaa-loran81
Online Media:

Charles Demuth papers

Creator:
Demuth, Charles, 1883-1935  Search this
Names:
Hartley, Marsden, 1877-1943  Search this
Henderson, Helen W. (Helen Weston), 1874-  Search this
Locher, Beatrice  Search this
Locher, Robert E. (Robert Evans), b. 1888  Search this
McBride, Henry, 1867-1962  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Ronnebeck, Arnold, 1885-1947  Search this
Sheeler, Charles, 1883-1965  Search this
Sheeler, Katharine  Search this
Stettheimer, Florine, 1871-1944  Search this
Street, Susan Watts  Search this
Williams, William Carlos, 1883-1963  Search this
Extent:
98 Items ((on 1 microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
[ca. 1890-1936]
Scope and Contents:
Postcards and letters from Helen W. Henderson, Robert and Beatrice Locher, Arnold Ronnebeck, Charles and Katharine Sheeler, Florine Stettheimer, Susan Watts Street, William Carlos Williams, Marsden Hartley, Henry McBride, Georgia O'Keeffe and others; postcards and letters to his mother Agusta Demuth, from Charles while in Paris, 1921; photos of Demuth and others; photographs of Demuth's childhood sketchbook containing 27 drawings of flowers, birds, insects, and animals; 3 photos of landscapes in oil; and a pamphlet by Henry C. Demuth tracing the history of Demuth Tobacco Shop, Lancaster, Pennsylvania.
Biographical / Historical:
Painter; Lancaster, Pennsylvania.
Provenance:
Material on frames 2-129 lent for microfilming by collector Pauline Stauffer; Frames 130-230 by Harris C. Arnold, Demuth family attorney, 1981.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Painters -- Pennsylvania  Search this
Topic:
Art, American -- Pennsylvania -- Lancaster  Search this
Identifier:
AAA.demuchar
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw972a9cff5-c047-4c39-8831-1737cede213a
EDAN-URL:
ead_collection:sova-aaa-demuchar

Marsden Hartley papers

Creator:
Hartley, Marsden, 1877-1943  Search this
Extent:
5 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1900-1967
Scope and Contents:
Writings by and about Hartley; list of Hartley paintings; photographs; and clippings.
REEL 495: 17 photographs of Hartley, ca. 1910-1943; 2 clippings; and a list of Hartley posessions at Bates College, Lewiston, Maine.
REELS 1368-1371: Manuscripts and typescripts of essays, short stories, and poems written by Hartley. Included also is a manuscript of an autobiography, "Somehow a Past," and eight essays not written by Hartley but one of which is about Hartley.
Biographical / Historical:
Painter; Ellsworth, Me. Hartley exhibited at Alfred Stieglitz's gallery 291 in 1909, the Armory Show of 1913, and was a member of the Blue Rider Group.
Provenance:
Microfilm reels 1368-1371 donated 1978 by Yale University, Beinecke Rare Book and Manuscript Library, who received the originals from Norma Berger, Hartley's niece. Berger lent material on reel 495 for microfilming, 1973. In 1971, Marsden Hartley related material from various collections was microfilmed on reel 138; in 1990 all items were found to be previously microfilmed, and were returned to their original collections.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Painters -- Maine  Search this
Topic:
Painting, Modern -- 20th century -- Maine  Search this
Citation:
Reels 1368-1371: Marsden Hartley Papers, Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library.
Identifier:
AAA.hartmarp
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw974467382-26ec-4ec1-b9b0-10a7c1521563
EDAN-URL:
ead_collection:sova-aaa-hartmarp

Hudson D. Walker papers

Creator:
Walker, Hudson D. (Hudson Dean), 1907-1976  Search this
Names:
American Federation of Arts  Search this
Artists Equity Association  Search this
Parke-Bernet Galleries  Search this
Walker Art Center  Search this
Benn, Ben, 1884-  Search this
Biberman, Edward  Search this
Blatas, Arbit  Search this
Booth, Cameron, 1892-1980  Search this
Botkin, Henry, 1896-1983  Search this
Brenson, Theodore, 1893-1959  Search this
Browne, Byron, 1907-1961  Search this
Cahn, Joshua Binion, 1915-  Search this
Charlton, Gene, 1909-  Search this
Cook, Howard Norton, 1901-1980  Search this
Davis, Gladys Rockmore, 1901-1967  Search this
Dodd, Lamar  Search this
Evergood, Philip, 1901-1973  Search this
Fuerstenburg, Eugenia M.  Search this
Fuller, Sue, 1914-  Search this
Gaertner, Carl F. (Carl Frederick), 1898-1952  Search this
Greenbaum, Dorothea S.  Search this
Hartley, Marsden, 1877-1943  Search this
Hirsch, Joseph, 1910-1981  Search this
Jules, Mervin, 1912-  Search this
Kemp, Harry, 1883-1960  Search this
Maril, Herman  Search this
Maurer, Alfred Henry, 1868-1932  Search this
McCausland, Elizabeth, 1899-1965  Search this
Moy, Seong  Search this
Reeder, Dickson, 1912-1970  Search this
Ribak, Louis, 1902-1979  Search this
Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this
Sepeshy, Zoltan, 1898-1974  Search this
Sokole, Miron, 1901-  Search this
Sprinchorn, Carl, 1887-1971  Search this
Sternberg, Harry, 1904-2001  Search this
Tinguely, Jean, 1925-  Search this
Valentiner, Wilhelm Reinhold, 1880-1958  Search this
Walker, Ione  Search this
Weeren-Griek, Hans van  Search this
West, Clifford B.  Search this
Extent:
20 Linear feet ((partially microfilmed on 10 reels))
Type:
Collection descriptions
Archival materials
Date:
1920-1982
Scope and Contents:
Correspondence; biographical material; artists files; files on organizations; business and financial records; photographs; writings and notes; diaries; scrapbooks; appointment calendars; exhibition catalogs and announcements; printed material; and miscellany.
REELS D351-D358: Biographical material; personal and business correspondence with family, artists, museums, and art organizations; 62 artists files containing photos of works of art, printed material, and correspondence; files on the American Federation of the Arts, Artists Equity Association, the Walker Foundation, and other organizations; business and financial records; material relating to Walker's work with Elizabeth McCausland in her studies of Marsden Hartley; printed material; and photos of Walker, his family, and miscellaneous works of art. Among the correspondents are: Berenice Abbott, Ben Benn, Theodore Brenson, Gene Charlton, Philip Evergood, Joseph Hirsch, Mervin Jules, Carl Sprinchorn, Harry Sternberg, and others.
REEL 130: Correspondence with Eugenia M. Fuerstenberg, Oct. 8, 1940-Sept. 25, 1941, concerning the consignment and sale of ca. 400 Alfred Maurer paintings owned by Mrs. Fuerstenberg. One letter is from Parke-Bernet Galleries, declining to handle the paintings.
REEL 1535: 4 volumes of a diary, 1929, 1930, 1942, and 1945. The first two volumes were kept while Walker was a graduate student at Harvard, the 1942 volume covers exhibitions and artists, including Marsden Hartley, and the 1945 volume details Walker's travels in Europe after World War II. Also included are 7 letters, a valentine, and two post cards from his wife, Ione G. Walker, and a 1967 letter from Hans van Weeren-Griek.
UNMICROFILMED: Correspondence with Henry Botkin, Philip Evergood, Susan Fuller, Marsden Hartley, Harry Sternberg and other artists and gallery directors; letters and poems by Harry Kemp, 1948-1955; essays by Walker on Joshua B. Cahn and Marsden Hartley; a report on the Walker Art Center by William Valentiner, 1930; notes from meetings, galleries and art associations; a silk screen by Seong Moy; financial records; 2 diaries, 1938-1939; 2 appointment calendars, 1950-1951; 8 school notebooks; 3 scrapbooks; exhibition catalogs; clippings; and photos of Walker and artists Cameron Booth, Byron Browne, Gladys Rockmore Davis, Carl Gaertner, Dorothea Greenbaum, Mervin Jules, Herman Maril, Dickson Reeder, Henry Schnakenberg, Miron Sokole, Harry Sternberg, Jean Tingley and Clifford West.
Biographical / Historical:
Collector and administrator; New York, N.Y.; d. 1976.
Provenance:
Material on reels D351-D358 & unmicrofilmed donated 1966-1982 by Hudson D. and Ione G. Walker; material on reel 1535 lent for microfilming 1979 by Ione G. Walker, widow of Walker; material on reel 130 donor unspecified.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm.
Occupation:
Administrators -- New York (State) -- New York  Search this
Topic:
Art -- Collectors and collecting -- New York (State) -- New York  Search this
Identifier:
AAA.walkhuds
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw919fc6f74-8326-4c09-92b7-a48bafeaca1a
EDAN-URL:
ead_collection:sova-aaa-walkhuds

Helen Stein papers relating to Marsden Hartley

Creator:
Stein, Helen, 1888?-1965  Search this
Names:
Hartley, Marsden, 1877-1943  Search this
Rosenberg, Paul, 1881-1959  Search this
Extent:
0.2 Linear feet ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
[undated] and 1934-1949
Scope and Contents:
Primarily letters to Helen Stein from Marsden Hartley, with typed transcriptions and 25 typed pages of anecdotes about Hartley, probably written by Stein. The letters provide intimate information about Hartley's activities, interests, and state of mind for the last 9 years of his life, revealing his thoughts about artists, dealers, artistic styles, critics, and describing his progress in painting and in sales of his paintings. (Included with a letter of September 10, 1939 is a snapshot of Hartley.) Similar information is included in the anecdotes, which recount Hartley's comments on many topics.
There are also catalogs for exhibitions of Hartley's work, a press review, and a letter from Stein to Paul Rosenberg in which she mentions the Hartley letters.
Biographical / Historical:
Painter. Born Helen Steinberg in Odessa, Russia, Stein came to the United States at the age of two. She studied at the Art Students League with Max Weber and at Cooper Union. Her benefactor, Sir Michael Crozer-Gielberg, commissioned Le Corbusier to design a studio for her in Paris (1927-29). She met Marsden Hartley, who greatly admired her work, ca. 1930, and painted him ca. 1932. They were close friends for the last ten years of his life.
Provenance:
The papers were gathered and donated by Jay Friedline, a friend of Stein and Hartley, 1988.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Painters  Search this
Topic:
Women painters  Search this
Identifier:
AAA.steihele
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9fbeadb48-4821-41b2-b1fb-e0f4393a2e97
EDAN-URL:
ead_collection:sova-aaa-steihele

Arnold Rönnebeck and Louise Emerson Ronnebeck papers

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

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

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

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

Missing Title

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

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

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

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

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

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

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

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

In 1925, Rönnebeck visited Mabel Dodge Luhan at her ranch in Taos, New Mexico, where he met his future wife, the painter Louise Emerson, born Mary Louise Harrington Emerson in 1901. After their marriage, the Rönnebecks lived in Denver where Arnold Rönnebeck worked as director of the Denver Art Museum and continued to execute commissioned works, including bas reliefs, portrait busts, and sculptures. He died in Denver, Colorado in 1947. Throughout the 1950s and 1960s, Louise Emerson Ronnebeck continued to receive commissions for frescoes and murals in Colorado and Bermuda and died in Denver, Colorado in 1980.
Related Material:
Correspondence between Arnold Rönnebeck and Alfred Stieglitz and Marsden Hartley is located at the Beinecke Rare Book and Manuscript Library at Yale University.
Provenance:
The papers were donated in 2001 by Ursula Moore Works and Arnold Rönnebeck, the artists' daughter and son.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Sculptors  Search this
Muralists  Search this
Artists -- New Mexico -- Taos  Search this
Portrait sculpture  Search this
Women artists  Search this
Women painters  Search this
Women muralists  Search this
Genre/Form:
Sketches
Drawings
Scrapbooks
Photographs
Citation:
Arnold Rönnebeck and Louise Emerson Ronnebeck papers, 1884-2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ronnarno
See more items in:
Arnold Rönnebeck and Louise Emerson Ronnebeck papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9af8f3567-a8ef-4d33-b31d-bbc2ffda7d66
EDAN-URL:
ead_collection:sova-aaa-ronnarno
Online Media:

Carl Sprinchorn papers

Creator:
Sprinchorn, Carl, 1887-1971  Search this
Names:
Hartley, Marsden, 1877-1943  Search this
Slinkard, Rex, 1887-1918  Search this
Extent:
12 Reels (ca. 5400 items (on 12 microfilm reels))
Type:
Collection descriptions
Archival materials
Reels
Date:
1887-1972
Scope and Contents:
Biographical material and personal documents; correspondence; notebooks and notes for Sprinchorn's autobiography; notes and drafts for 100 ARTISTS PLUS; a file on Rex Slinkard containing writings by Slinkard's mother, correspondence, photos of works of art, and miscellaneous printed material; miscellaneous writings by Sprinchorn and others; writings about Sprinchorn and Slinkard by Marsden Hartley; sketches; an exhibition and sales file; photos of Sprinchorn, his friends and colleagues; photos of Santo Domingo; and miscellaneous printed material.
Correspondents include Polly Scribner Ames, Oscar Bluemner, Nick Brigante, Christian Brinton, Kenneth Burke, Robert Burlingame, Royal Cortissoz, Helen Crommett, E. E. Cummings, Florence and Gertie Dreyfous, Kathryn Freeman, Edith Halpert, Marsden Hartley, Robert Henri, Laura Hersloff, Mary Safford Hoogewerff, Jo Hopper, Robert M. Jackson, Wolf Kahn, Rockwell Kent, Maxine Kumin, Adelaide Kuntz, Isabel Lachaise, Amy Londoner, Elizabeth McCausland, Marianne Moore, Sidney Osborne, Walter Pach, Georgette Passedoit, Edna Perkins, Duncan Phillips, Elizabeth Sparhawk-Jones, Ettie Stettheimer, Frank V. Tompkins, Hudson Walker, Abraham Walkowitz, Henry Wells, Florence and Gladys Williams, Claggett Wilson, and Katie Young.
Biographical / Historical:
Painter; Shin Pond, Me. and New York, N.Y.
Provenance:
Lent for microfilming 1983 by Fogler Library, University of Maine.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Painters -- New York (State) -- New York  Search this
Painters -- Maine -- Shin Pond  Search this
Identifier:
AAA.spricarl
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b6625cbf-a0e6-4e14-85ea-c3d6fb28b121
EDAN-URL:
ead_collection:sova-aaa-spricarl

George Platt Lynes photographs

Creator:
Lynes, George Platt, 1907-1955  Search this
Names:
Bacon, Peggy, 1895-1987 -- Photographs  Search this
Berman, Eugene, 1899-1972 -- Photographs  Search this
Biddle, George, 1885-1973 -- Photographs  Search this
Billings, Henry, 1901- -- Photographs  Search this
Brook, Alexander, 1898-1980 -- Photographs  Search this
Cadmus, Paul, 1904-1999 -- Photographs  Search this
Chagall, Marc, 1887-1985 -- Photographs  Search this
Chaliapin, Boris, 1904- -- Photographs  Search this
Dunoyer de Segonzac, André, 1884-1974 -- Photographs  Search this
French, Jared, 1905-1988 -- Photographs  Search this
Hartley, Marsden, 1877-1943 -- Photographs  Search this
Hopper, Edward, 1882-1967 -- Photographs  Search this
Kokoschka, Oskar, 1886- -- Photographs  Search this
Lachaise, Gaston, 1882-1935 -- Photographs  Search this
Lurçat, Jean, 1892-1966 -- Photographs  Search this
Lynes, George Platt, 1907-1955 -- Art collections -- Photographs  Search this
Noguchi, Isamu, 1904-1988 -- Photographs  Search this
Perlin, Bernard, 1918- -- Photographs  Search this
Pène Du Bois, Guy, 1884-1958 -- Photographs  Search this
Roy, Pierre -- Photographs  Search this
Saint-Gaudens, Homer, b. 1880 -- Photographs  Search this
Tanguy, Yves, 1900-1955 -- Photographs  Search this
Tchelitchew, Pavel, 1898-1957 -- Photographs  Search this
Tooker, George, 1920-2011 -- Photographs  Search this
Zadkine, Ossip -- Photographs  Search this
Zorach, William, 1887-1966 -- Photographs  Search this
Extent:
1.4 Linear feet ((microfilmed on 3 reels))
Type:
Collection descriptions
Archival materials
Date:
1926-1950
Scope and Contents:
Photographs of artists and art works taken by Lynes.
REEL 57: A photograph album, 1926-1942, containing photos of paintings and drawings in Lynes's collection. Paul Cadmus, Jared French, Marsden Hartley, Paul Klee, Pierre Roy, Pavel Tchelitchew, and Yves Tanguy are represented.
REEL 153: Photographs of artists, 1932-1950, and others (printed posthumously) including: Peggy Bacon, Eugene Berman, George Biddle, Henry Billings, Alexander Brook, Paul Cadmus, Marc Chagall, Boris Chaliapin, A. Dunoyer De Segonzac, Guy Pène du Bois, Jared French, Edward Hopper, Oskar Kokoschka, Gaston Lachaise, Jean Lurcat, Isamu Noguchi, Bernard Perlin, Pierre Roy, Homer St. Gaudens, Yves Tanguy, Pavel Tchelitchew, George Tooker, Ossip Zadkine, and William Zorach. Also included is a group photograph (numerous shots in varying poses) of a group of artists including Matta, Ossip, Zadkine, Yves Tanguu, Max Ernst, Marc Chagall, Fernand Léger, André Breton, Piet Mondrian, André Masson, Amédée Ozenfant, Jacques Lipcitz, Pavel Tchelitchev, Kurt Seligman and Eugene Berman taken on the occasion of the Exhibition Artists in Exile at the Pierre Matisse Gallery, New York, 1942.
REEL 2077: Fifteen photographs of Marsden Hartley, February 4, 1943, and printed posthumously.
Biographical / Historical:
George Platt Lynes (1907-1955) was a photographer from New York, N.Y. Best known for his portraits of Hollywood stars, ballet dancers, writers, and male nudes.
Provenance:
Material on reel 57 lent for microfilming 1971 by Russell Lynes, brother of George Platt Lynes; material on reels 153 & 2077 donated 1967-1971 by Russell Lynes.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm.
Reel 57: ACCESS RESTRICTED: written permission required.
Rights:
Reels 153 and 2077: Authorization to publish or reproduce requires written permission from Joshua Lynes. Credit should include Copyright Estate of George Platt Lynes. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Photographers -- New York (State) -- New York  Search this
Topic:
Photography, Modern -- 20th century -- New York (State) -- New York  Search this
Artists -- Photographs  Search this
Portrait photography  Search this
Identifier:
AAA.lynegeor
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw992b59d5d-83f7-4db1-b7a4-b0e70c57821e
EDAN-URL:
ead_collection:sova-aaa-lynegeor

William Germain Dooley papers

Topic:
Christian Science monitor
Creator:
Dooley, William Germain, 1904-1975  Search this
Museum of Fine Arts, Boston  Search this
Fogg Art Museum  Search this
Names:
Castano Galleries (Boston, Mass.)  Search this
Green, Charles W.  Search this
Hartley, Marsden, 1877-1943  Search this
Keyes, Homer Eaton, 1875-1938  Search this
Kieran, John, 1892-  Search this
Lee, Ruth Webb, 1894-  Search this
Phillips, James Duncan, b. 1876  Search this
Roosevelt, James, 1907-  Search this
Taylor, Francis Henry, 1903-1957  Search this
Washburn, Bradford, 1910-  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Date:
1925-1973
Scope and Contents:
Biographical material; correspondence with friends and colleagues, including Charles W. Green, Marsden Hartley, Homer Eaton Keyes, John Kieran, Ruth Webb Lee, James Roosevelt, Francis Henry Taylor, Bradford Washburn and others; subject files, including one on Castano Galleries in Boston; lecture notes; writings, including typescripts and drafts for the Museum of Fine Arts, Boston, the Fogg Museum, and the Christian Science Monitor; a typescript of an article by James Duncan Phillips; printed materials; photographs of Dooley and of the U.S. Army's recovery of art objects form the Berlin Museum in 1945; and ephemera.
Biographical / Historical:
Art critic, writer and educator; Cambridge, Mass. Was the associate editor and art critic for the Boston Transcript; wrote extensively for other publications. Headed the Division of Education at the Museum of Fine Arts, Boston and founded the Pewter Collectors Society.
Provenance:
Donated 1975 and 1981 by Mrs. William G. Dooley.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Art critics -- Massachusetts -- Boston  Search this
Educators -- Massachusetts -- Boston  Search this
Identifier:
AAA.doolwill
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b0c22ef4-2c27-4297-8423-3c06af88ae3d
EDAN-URL:
ead_collection:sova-aaa-doolwill

G. Alan Chidsey papers

Creator:
Chidsey, G. Alan  Search this
Names:
Hartley, Marsden, 1877-1943  Search this
Jackson, Martha Kellogg  Search this
McCausland, Elizabeth, 1899-1965  Search this
Photographer:
Stieglitz, Alfred, 1864-1946  Search this
Extent:
6.6 Linear feet ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Date:
1920-1979
Scope and Contents:
Correspondence; scrapbooks; photographs; clippings; and catalogs, much of it relating to Marsden Hartley.
REEL 1708: 3 letters from Mardsen Hartley; Chidsey's correspondence with Elizabeth McCausland, Martha Jackson, E. Weyhe, Inc., Frank Noyes, Sanford Schwartz, and others regarding the Marsden Hartley Estate; appraisals and price lists of paintings; clippings; a photograph of Marsden Hartley by Alfred Steiglitz, and another of Hartley in France.
REEL N69-115: Photographs of Hartley paintings, 1908-1943, identified by their 1944 location (Rosenberg, Knoedler, or Lincoln warehouse) and, in some cases, their subsequent date of sale, purchaser, price, and estate number, going as late as 1969. A note by Alan Chidsey indicates that many of the paintings were sold before Hartley's estate was inventoried in 1951.
UNMICROFILMED: 5,800 clippings concerning twentieth century American artists; 18 Parke-Bernet auction catalogs; and 3 scrapbooks, entitled "Artists and Models," containing cartoon clippings.
Biographical / Historical:
Book dealer and lawyer; Plandom, N.Y. Chidsey served as trustee to the Marsden Hartley estate.
Provenance:
Donated 1979 by Alan G. Chidsey.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Book dealers  Search this
Lawyers  Search this
Topic:
Painting, Modern -- 20th century  Search this
Identifier:
AAA.chidg
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw969b203aa-a2fb-43cc-8eb6-0384315499f7
EDAN-URL:
ead_collection:sova-aaa-chidg

Oral history interview with Norma G. Berger relating to Marsden Hartley

Interviewee:
Berger, Norma G.  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Hartley, Marsden, 1877-1943  Search this
Extent:
24 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1973 June 28
Scope and Contents:
An interview of Norma Berger conducted 1973 June 28, by Robert F. Brown, for the Archives of American Art.
Ms. Berger speaks of her uncle, Marsden Hartley, and their close relationship. She recalls their time together from when she was a little girl up until Mr. Hartley's death. She tells of his fear of death and their arrangement for his cremation and scattering of ashes. Ms. Berger tells about his work as an artist, his friendship with Karl von Freyburg, and also her uncle's work as a writer. She also relates the difficulties with family members and particularly her cousin Ted after Mr. Hartley died and trying to make sure his art work was dealt with fairly. Ms. Berger did manage to save her uncle's correspondence and manuscripts.
Biographical / Historical:
Norma G. Berger is the niece of the painter Marsden Hartley.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 18 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Painting, Modern -- 20th century  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.berger73
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90bf10da5-8b78-4ca3-ad42-36e1da70271e
EDAN-URL:
ead_collection:sova-aaa-berger73
Online Media:

Milton Avery papers

Creator:
Avery, Milton, 1885-1965  Search this
Names:
Avery, Sally  Search this
Duthuit, Georges, 1891-  Search this
Eilshemius, Louis M. (Louis Michel), 1864-1941  Search this
Hartley, Marsden, 1877-1943  Search this
Putnam, Wallace, 1899-1989  Search this
Rothko, Mark, 1903-1970  Search this
Extent:
2.8 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1926-1982
bulk 1950-1982
Summary:
The papers of abstract painter Milton Avery measure 2.8 linear feet and date from 1926 to 1982, with the bulk of the collection dating from 1950 to 1982. Almost the entire collection consists of records of the Milton Avery Trust (2.4 linear feet) maintained by Avery's wife Sally, who served as a trustee. Milton Avery's business and personal correspondence (five folders) contains letters from friends and fellow artists, including a few from George Duthuit, Louis Eilshemius, Marsden Hartley, Wallace Putnam, and Mark Rothko. Also found are scattered writings about Avery, price lists, estate records, exhibition announcements and catalogs, and news clippings.
Scope and Content Note:
The papers of abstract painter Milton Avery measure 2.8 linear feet and date from 1926 to 1982, with the bulk of the collection dating from 1950 to 1982. Almost the entire collection consists of business files maintained by Milton Avery's wife Sally as a trustee for the Milton Avery Trust (2.4 linear feet). Milton Avery's business and personal correspondence (five folders) contains letters from friends and fellow artists, including a few from George Duthuit, Louis Eilshemius, Marsden Hartley, Wallace Putnam, and Mark Rothko. Also found are scattered writings about Avery, price lists, estate records, exhibition announcements and catalogs, and news clippings.
Arrangement:
The collection is arranged into 7 series:

Missing Title

Series 1: Biographical Material, 1964, 1975 (Box 1; 1 folder)

Series 2: Correspondence, 1935-1981 (Box 1; 10 folders)

Series 3: Subject Files, 1950-1981 (Box 1-4; 2.4 linear feet)

Series 4: Writings, circa 1951-1979 (Box 4; 5 folders)

Series 5: Financial & Legal Records, 1943-1982 (Box 4; 6 folders)

Series 6: Printed Material, 1926, 1962-1977 (Box 4; 4 folders)

Series 7: Photographs, circa 1970 (Box 4; 1 folder)
Biographical Note:
Milton Avery (1885-1965) was born in Altmar, New York and grew up in Hartford, Connecticut. Around 1905 he began attending the Connecticut League of Art Students in Hartford where he studied life drawing while also working full-time as a factory worker and file clerk. In 1915 he had his first public exhibition and, in 1918, transferred to the School of Art Society in Hartford. In 1924 he met Sally Michel (1905-2003), a student at the Art Students League in New York, and moved to New York City to be closer to her. They married one year later. Around this time Avery also altered his year of birth to 1893, perhaps due to the age difference between him and Sally. After their marriage Sally worked as an illustrator so that Avery could paint full time.

During the early 1920s, Avery's works were traditional figurative and genre subjects, influenced by American Impressionism. By the mid 1920s, with his move to New York, Avery began to simplify his forms and use broader expanses of flat color. Although his paintings became increasingly abstract, he never fully abandoned representational subject matter, painting figure groups, still lifes, landscapes, and seascapes. By the mid-1940s, Avery's work was characterized by a reduction of elements and elimination of detail, filled with an emphasis on arbitrary color.

Avery exhibited in a group show at The Opportunity Gallery in 1928 which also featured Mark Rothko and the two became close friends. He became friends with many other artists including Adolph Gottlieb, Barnett Newman, and Marsden Hartley. Avery's color work was an important influence on many younger artists, particularly Mark Rothko, Adolph Gottlieb, Barnett Newman, Helen Frankenthaler, and other Color Field painters. The Phillips Collection in Washington, D.C. was the first museum to purchase one of his paintings in 1929 and to give him his first solo museum exhibition in 1944.

In 1949 Milton Avery suffered a major heart attack and began making monotypes during his recovery. He returned to painting despite periods of ill-health, and his reputation grew rapidly over the next ten years, culminating in a retrospective at the Whitney Museum of American Art in New York in 1960. He also exhibited along with his wife Sally Avery and their daughter, March Avery Cavanaugh (born in 1932), both of whom were also painters. Avery died in 1965 and left behind an oeuvre of paintings that numbers in the thousands. His wife Sally managed his estate and the sale of his works to many major museums, and served as a trustee for the Milton Avery Trust until her death in 2003.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reels N68-95, N68-115, N69-63, and 2535 including six scrapbooks, a sketchbook, Christmas cards, exhibition catalogs, and photographs. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The Milton Avery papers were donated in 1968, 1969, and 1982 by his widow Sally Avery, including a few letters previously loaned for microfilming.
Restrictions:
The collection has been digitized and is available online via the Archives of American Art's website.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Painting, Abstract  Search this
Painters -- New York (State) -- New York  Search this
Citation:
Milton Avery papers, 1926-1982. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.avermilt
See more items in:
Milton Avery papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw962db9fe5-4a80-451f-a614-95e126345f06
EDAN-URL:
ead_collection:sova-aaa-avermilt
Online Media:

Oral history interview with Sally Avery

Interviewee:
Avery, Sally  Search this
Interviewer:
Wolf, Tom  Search this
Names:
Mark Rothko and His Times Oral History Project  Search this
Opportunity Club (New York, N.Y.)  Search this
Avery, Milton, 1885-1965  Search this
Gottlieb, Adolph, 1903-1974  Search this
Hartley, Marsden, 1877-1943  Search this
Newman, Barnett, 1905-1970  Search this
Rothko, Mark, 1903-1970  Search this
Extent:
66 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1982 February 19
Scope and Contents:
An interview of Sally Avery conducted 1982 February 19, by Tom Wolf, for the Archives of American Art's Mark Rothko and His Times oral history project.
Avery discusses the friendship between Mark Rothko and the Averys, noting especially Rothko's admiration for Milton Avery's work. She describes Avery's influence on Rothko and Adolph Gottlieb, recalling several summers spent together and their close association in New York. She mentions Rothko's and Avery's involvement with the Opportunity Gallery, and the activities of the Club and the Ten. Avery speaks of Rothko's "myth paintings" and the origination of the idea with Barnett Newman and Adolph Gottlieb. The second half of the interview focuses on Milton Avery and his manner of working. She mentions an Avery portrait of Marsden Hartley and remembers his visits with them.
Biographical / Historical:
Sally Michel Avery (1902-2003) was a painter and widow of Milton Avery. Sally Avery lived in New York and Long Island.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 32 min.
Provenance:
This interview was conducted as part of the Archives of American Art's Mark Rothko and his Times oral history project, with funding provided by the Mark Rothko Foundation.
Others interviewed on the project (by various interviewers) include: Sonia Allen, Ben-Zion, Bernard Braddon, Ernest Briggs, Rhys Caparn, Elaine de Kooning, Herbert Ferber, Esther Gottlieb, Juliette Hays, Sidney Janis, Buffie Johnson, Jacob Kainen, Louis Kaufman, Jack Kufeld, Katharine Kuh, Stanley Kunitz, Joseph Liss, Dorothy Miller, Betty Parsons, Wallace Putnam, Rebecca Reis, Maurice Roth, Sidney Schectman, Aaron Siskind, Joseph Solman, Hedda Sterne, Jack Tworkov, Esteban Vicente and Ed Weinstein. Each has been cataloged separately.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Painters -- New York (State) -- New York  Search this
Topic:
Abstract expressionism  Search this
Women artists  Search this
Women painters  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.avery82
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ffb07038-14e6-4516-8328-9edfc3008a24
EDAN-URL:
ead_collection:sova-aaa-avery82
Online Media:

Marsden Hartley in Maine ; illustrated manuscript

Creator:
Ames, Scribner, 1908-  Search this
Names:
Hartley, Marsden, 1877-1943  Search this
Young, Katie  Search this
Extent:
1 Item ((35 p.); 12 sheets with drawings)
Type:
Collection descriptions
Archival materials
Watercolor paintings
Graphite drawings.
Place:
Maine -- Pictorial works
Date:
1945
Scope and Contents:
Typed manuscript "Marsden Hartley in Maine (through the eyes of Katie Young of Corea, Maine)." 12 drawings, 8 in pencil and 4 in watercolor, illustrate the manuscript. The drawings mostly illustrate the house and town in Maine where Hartley spent the last years of his life. 11 drawings are titled and one is signed: Scribner Ames. Archives also owns a copy of the published work, inscribed by Ames to former curator Garnett McCoy (not microfilmed).
Biographical / Historical:
Painter, illustrator.
Provenance:
Donated 1959 by Polly Scribner Ames.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Book illustrators  Search this
Landscape painters  Search this
Painters  Search this
Topic:
Landscape painting  Search this
Genre/Form:
Watercolor paintings
Graphite drawings.
Identifier:
AAA.amespoll
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95bd932e0-98b7-425c-89dc-d4e534818a09
EDAN-URL:
ead_collection:sova-aaa-amespoll

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