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Frank Seiberling research material on George Bellows

Creator:
Seiberling, Frank A., 1908-1990  Search this
Names:
Bellows, George, 1882-1925  Search this
Chase, William Merritt, 1849-1916  Search this
Henri, Robert, 1865-1929  Search this
Kroll, Leon, 1884-1974  Search this
Kuhn, Walt, 1877-1949  Search this
Pène Du Bois, Guy, 1884-1958  Search this
Seiberling, Frank, 1908-  Search this
Taylor, John Russell  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Date:
1934-1962
bulk 1934-1948
Scope and Contents:
Research material compiled in preparation for Seiberling's dissertation on Bellows, "George Bellows, 1882-1925: His Life and Development as an Artist" (University of Chicago, 1948).
Included are Seiberling's correspondence, 1934-1962, with Guy Pène du Bois, Walt Kuhn, Leon Kroll and Mrs. George Bellows; typescript copies of letters by George Bellows, a few compiled by Leon Kroll; writings, including Seiberling's dissertation and writings on Bellows by John Russell Taylor; research notes; clippings and exhibition catalogs; copyprints of photographs of Bellows, Bellows at a class taught by Robert Henri at the "Chase School," of Bellows at Henri's studio, and of works of art by Bellows, Henri, Everett Shinn and Diego Rivera.
Biographical / Historical:
Frank A. Seiberling (1908-1990) was an art historian. Bellows was a painter and a member of the Ashcan School. Member of the Eight.
Provenance:
Donated 1991 by Nancy Seiberling, widow of Frank Seiberling.
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.
Topic:
Art, American  Search this
Identifier:
AAA.seibfran
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9776b0a93-f028-4139-aa12-9e6641394f93
EDAN-URL:
ead_collection:sova-aaa-seibfran

Alice Klauber letters

Creator:
Klauber, Alice Ellen, 1871-1951  Search this
Names:
Fine Arts Gallery of San Diego  Search this
Panama-California Exposition (1915 : San Diego, Calif.)  Search this
Adams, Wayman, 1883-1959  Search this
Bellows, George, 1882-1925  Search this
Glackens, William J., 1870-1938  Search this
Hartman, C. Bertram, 1882-1960  Search this
Hassam, Childe, 1859-1935  Search this
Henri, Robert, 1865-1929  Search this
Hewett, Edgar L. (Edgar Lee), 1865-1946  Search this
Lawson, Ernest, 1873-1939  Search this
Luks, George Benjamin, 1867-1933  Search this
Matisse, Pierre, 1900-1989  Search this
Organ, Marjorie, b. 1886  Search this
Pach, Walter, 1883-1958  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Sharp, Joseph Henry, 1859-1953  Search this
Sloan, John, 1871-1951  Search this
Zorach, William, 1887-1966  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1907-1946
Scope and Contents:
Letters to Alice Klauber from Walter Pach and Robert Henri about art activities; letters to Klauber and Edgar L. Hewett regarding the Panama-California Exposition of 1915-1916 in San Diego; and a few letters from William Zorach, Pierre Matisse and Wayman Adams regarding exhibits at the Fine Arts Gallery of San Diego. All letters are copies.
The 19 letters from Pach, 1907-1929, regard arrangements for Klauber to attend the Chase School in Italy (Pach was a manager/instructor), and his travels and work in Italy, Belgium, and Paris. Henri, writing 1912-1918, in 34 letters, discusses Maratta's color system, trips to Ireland, California, and Santa Fe, his health and work. The series concerning the Panama- California Exposition of 1915-1916 comprise mainly letters and telegrams to the art department chair Edgar L. Hewett from artists George Bellows, Arthur B. Davies, William Glackens, Bertram Hartman, Childe Hassam, Henri, Marjorie Organ (Mrs. Robert Henri), George Luks, Ernest Lawson, Maurice Prendergast, Joseph Henry Sharp, and John Sloan regarding their work, and a few to Klauber on her work for the exposition.
Biographical / Historical:
Painter, curator, San Diego, Calif. Klauber was a member of the Women's Board of the Panama-Pacific Exposition, 1915-1916, in San Diego, working on art exhibitions, actively assisted by Robert Henri and Edgar L. Hewett. Later, she was a curator at the Fine Arts Gallery of San Diego (renamed San Diego Museum of Art in 1978).
Provenance:
The donor, Henry G. Gardiner, was affiliated with the San Diego Fine Arts Gallery. He received the Pach letters from Mrs. Paul Wormser of La Jolla, California. Included with his donation were photocopies of letters to Alfred Mitchell from Mrs. Thomas Eakins which were microfilmed and described separately. Originals are owned by the San Diego Museum of Art.
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:
Museum curators -- California -- San Diego  Search this
Painters -- California -- San Diego  Search this
Topic:
Women artists  Search this
Women museum curators  Search this
Women painters  Search this
Identifier:
AAA.klaualic
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b91901c1-a8e9-434a-ac72-6519bab51cf0
EDAN-URL:
ead_collection:sova-aaa-klaualic

Blanche Lazzell papers

Creator:
Lazzell, Blanche, 1878-1956  Search this
Names:
Chaffee, Oliver Newberry, 1881-1944  Search this
Dasburg, Andrew, 1887-1979  Search this
Gleizes, Albert, 1881-1953  Search this
Henri, Robert, 1865-1929  Search this
O'Connor, John  Search this
Pearson, Ralph M., 1883-1958  Search this
Extent:
4.6 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Photographs
Visitors' books
Drawings
Diaries
Date:
1893-1986
bulk 1901-1940
Summary:
The papers of printmaker, etcher, and painter Blanche Lazzell (1878-1956) measure 4.6 linear feet and date from 1893 to 1986, with the bulk of the material dating from 1901 to 1940. Found within the papers are biographical materials; correspondence with family, friends, and colleagues; writings; five diaries; scattered personal business records; printed material; artwork; photographs; and artifacts.
Scope and Contents:
The papers of printmaker, etcher, and painter Blanche Lazzell (1878-1956) measure 4.6 linear feet and date from 1893 to 1986, with the bulk of the material dating from 1901 to 1940. Found within the papers are biographical materials; correspondence with family, friends, and colleagues; writings; five diaries; scattered personal business records; printed material; artwork; photographs; and artifacts.

Biographical material includes school report cards, address books, obituaries, membership certificates, and travel documents from Blanche Lazzell's travels abroad in Europe.

Correspondence is with family, friends, and colleagues. Family correspondence is predominately with Lazzell's sisters, and a lesser amount with her brother Rufus and other relatives. Well over one-half of the correspondence is with friends and colleagues, including Arthur Lee Post and John O' Connor, and one or more letters from Oliver Chaffee, Andrew Dasburg, Robert Henri, and Ralph M. Pearson, among others.

Writings include notebooks, essays, and notes. Notebooks are primarily class notes, including one from Lazzells's studies in France during her second trip to Europe, and another maintained as a record of artwork. Also found are essays,including one about Provincetown; notes; biographical sketches; and lists of exhibitions and artwork. Five diaries document the late 1890s and Lazzell's trips to Europe in 1912-1913 and 1923-1924.

Scattered personal business records consist of 3 expense account ledgers and one sales ledger. Printed Material includes guest books, news clippings, exhibition catalogs, exhibition announcements, magazines, brochures, and newsletters. Artwork includes pencil drawings and sketches, mostly from studies with the artist Albert Gleizes in Paris. Photographic material consists of photographs, slides, and one lantern slide. The photographs are of Blanche Lazzell with artists and friends, her studio and the harbor in Provincetown, artwork, and travels in Italy.

Artifacts include 2 metal signs and 1 paint palette in a metal case.
Arrangement:
This collection is arranged as 9 series.

Missing Title

Series 1: Biographical Material, 1894-1970 (0.3 linear feet; Box 1)

Series 2: Correspondence, 1897-1965 (1.2 linear feet; Box 1-2)

Series 3: Writings, 1893-1969 (1.2 linear feet; Box 2-3)

Series 4: Diaries, 1896-1924 (0.1 linear feet; Box 3)

Series 5: Personal Business Records, 1894-1916 (0.1 linear feet; Box 3)

Series 6: Printed Material, 1899-1986 (1 linear feet; Box 3-4)

Series 7: Artwork, 1924-circa 1940 (0.1 linear feet; Box 4)

Series 8: Photographic Material, 1897-1956 (0.5 linear feet; Box 5-6)

Series 9: Artifacts, circa 1910-1956 (0.1 linear feet; Box 6)
Biographical / Historical:
Blanche Lazzell (1878-1956) was a printmaker, etcher, painter, and rug designer who worked primarily in Provincetown, Massachusetts and Morgantwon, West Virginia.

Nettie Blanche Lazzell was born in Maidsville, West Virginia, in 1878, the daughter of Mary Prudence Pope and Cornelius Carhart Lazzell. At some point during her childhood, Lazzell became partially deaf. When Lazzell was fifteen, she enrolled in the West Virginia Conference Seminary, now West Virginia Wesleyan College and graduated in 1898.

In 1899, Lazzell continued her studies at the South Carolina Co-educational Institute and graduated that same year. She later matriculated into the West Virginia University (1901-1905) where she took drawing and art history classes with William J. Leonard and earned a degree in fine arts. After graduation, Lazzell periodically studied at the university until 1909. Lazzell moved to New York City in 1907 and enrolled in the Art Students League of New York in 1908 where she studied under William Merritt Chase.

Lazzell travelled to Europe during the summer of 1912. After visiting several cities, Lazzell went to Paris and stayed beyond the tour to attend classes at the Académie Julian and the Académie Moderne where she studied with painter Charles Guérin. Lazzell returned to the United States in the fall of 1913 and stayed in West Virginia with her sister Bessie. She held a solo exhibition of her sketches and paintings in 1914. Lazzell moved to the thriving art colony at Provincetown, Massachusetts in 1915. There, she studied with Charles Webster Hawthorne, who founded the Cape Cod School of Art, and Oliver Chaffee, who taught her the technique for white-line woodcuts. Lazzell quickly adopted and excelled at making white-line woodblock prints, joined the Provincetown Printers, an art collective, and regularly exhibited with them.

n 1918, Lazzell converted an "old fish house" overlooking the Provincetown harbor into her studio and summer home. She planted a lush garden that became a tourist attraction where she often hosted teas and taught classes on painting and woodblock printing. The studio became her primary summer residence, though she often returned to Morgantown, West Virginia. Lazzell also visited other artist colonies during this time, including one in Woodstock, New York where she studied with Andrew Dasburg.

In 1919 Lazzell was featured in an exhibition at Touchstone Gallery in New York City. Later that year, the Provincetown Printers were featured at the Detroit Institute of Arts exhibition "Wood Block Prints in Color by American Artists". That show included Lazzell's depiction of the Monongahela River in Morgantown.

From 1923 to 1924, Lazzell travelled again to Europe and studied with Fernand Legér, André Lhote, and Albert Gleizes in Paris. Lazzell studied Cubism and took a class with Gleizes and her work became more abstract. When she returned to Provincetown, she had her studio rebuilt so it was more comfortable during the winter. She continued to teach art at her studio and participate in exhibitions.

In addition to her woodblock prints, Lazzell also worked with batik, rug design, and hand-painted china. She was a member of numerous arts organizations such as the Société Anonyme, New York Society of Women Artists, Provincetown Art Association, the Sail Loft Club (a Provincetown women's art club), and the Society of Independent Artists. In 1934, Lazzell received a Federal Art Project grant through the Works Progress Administration and created a mural titled Justice for the Morgantown courthouse.

Lazzell died in Morgantown, West Virginia in 1956.
Separated Materials:
The papers were originally loaned for microfilming on reels 2988-2991 and most of them, but not all, were included in a later donation. The papers not included in the later donation are only available on microfilm.
Portions of the microfilmed material were retained by the donor.
Provenance:
The Blanche Lazzell papers were anonymously donated to the Archives of American Art in 1987, including most of the materials that had been earlier loaned for microfilming in 1983.
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:
Printmakers -- Massachusetts  Search this
Etchers -- Massachusetts  Search this
Painters -- Massachusetts  Search this
Textile designers -- Massachusetts  Search this
Topic:
Art -- Study and teaching  Search this
Artists' studios -- Photographs  Search this
Women artists  Search this
Women painters  Search this
Women printmakers  Search this
Women designers  Search this
Women textile designers  Search this
Genre/Form:
Sketches
Photographs
Visitors' books
Drawings
Diaries
Citation:
Blanche Lazzell papers, 1893-1986, bulk 1901-1940. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lazzblan
See more items in:
Blanche Lazzell papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9fb2eed0b-d11d-4799-a9f3-e141835ba917
EDAN-URL:
ead_collection:sova-aaa-lazzblan
Online Media:

Robert Laurent papers

Creator:
Laurent, Robert, 1890-1970  Search this
Names:
Avery, Milton, 1885-1965  Search this
Barnes, Albert C. (Albert Coombs), 1872-1951  Search this
Bellows, George, 1882-1925  Search this
Berenson, Bernard, 1865-1959  Search this
Bluemner, Oscar, 1867-1938  Search this
Calder, Alexander, 1898-1976  Search this
Careas, Jean  Search this
Courtois, Gustave, 1852-1923  Search this
Dasburg, Andrew, 1887-1979  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Field, Hamilton Easter  Search this
Fiene, Ernest, 1894-  Search this
Goodrich, Lloyd, 1897-1987  Search this
Gross, Chaim, 1904-1991  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Hart, George Overbury, 1868-1933  Search this
Hassam, Childe, 1859-1935  Search this
Henri, Robert, 1865-1929  Search this
Hope, Henry R. (Henry Radford), 1905-  Search this
Kuhn, Walt, 1877-1949  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Lachaise, Gaston, 1882-1935  Search this
Laurent, John, 1921-  Search this
Lipchitz, Jacques, 1891-1973  Search this
McBride, Henry, 1867-1962  Search this
McFee, William  Search this
Nadelman, Elie, 1882-1946  Search this
Pascin, Jules, 1885-1930  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Rattner, Abraham  Search this
Ryder, Albert Pinkham, 1847-1917  Search this
Smith, David, 1906-1965  Search this
Soyer, Raphael, 1899-1987  Search this
Speicher, Eugene Edward, 1883-1962  Search this
Stella, Joseph, 1877-1946  Search this
Sterne, Maurice, 1878-1957  Search this
Stieglitz, Alfred, 1864-1946  Search this
Strater, Henry, 1896-  Search this
Zorach, William, 1887-1966  Search this
Extent:
3.7 Linear feet ((on 8 microfilmed reels + 1 photograph not microfilmed))
Type:
Collection descriptions
Archival materials
Date:
1869-1973
Scope and Contents:
Correspondence; manuscripts and writings; lists of works of art; photographs; biographical material; gallery and foundry files; notes and speeches; financial material; scrapbook; guest book; magazines; exhibition catalogs; clippings; and printed material.
REEL N68-2: Letters from George Bellows, Bernard Berenson, Elliott Daingerfield, Arthur B. Davies, Roger Fry, John Marin, Joseph Pennell, Man Ray, John Sloan, Max Weber, J. Alden Weir, and others. Two highly detailed letters from Maurice Sterne in 1913 describe that artist's life in Bali. Also included are signatures of American artists from a guest book, and a 1966 catalog of the Hamilton Easter Field Art Foundation Collection.
REEL N68-3 Letters from Childe Hassam, Walt Kuhn, Yasuo Kuniyoshi, Gaston Lachaise, Elie Nadelman, David Smith, Alfred Stieglitz, William Zorach, Oscar Bluemner, Albert C. Barnes, Andrew Dasburg, Ernest Fiene, Pop Hart, Robert Henri, Joseph Stella, Maurice Sterne, and others. Also included are manuscripts, lists of works of art, and photographs of Laurent with Hamiltion Easter Field, Bernard Kariol and others.
REEL 2: Personal data sheet, exhibition catalogs and magazines containing articles by or about Laurent, ca. 1920-1965.
REEL 497: John Laurent's collection of 34 letters, 1902-1960, to Robert Laurent and Hamiltion Easter Field. The 6 letters to Field are from Bernhard Berenson, George Bellows, Maurice Prendergast, Pop Hart, Gustov Courtois, and John Carpenter. The 28 letters to Robert Laurent are from Albert P. Ryder, Gaston Lachaise, Raphael Soyer, Walt Kuhn, Robert Henri, Alfred Stieglitz, Arthur B. Davies, Milton Avery, Alexander Calder, Henry McBride, William McFee, Jules Pascin, Jean Careas, and two unidentified artists.
REEL 2063: Photographs, ca. 1930-1962, of Laurent, his studio, exhibitions, and works of art.
REELS 2065-2067: Biographical material; correspondence from Maurice Sterne, Yasuo Kuniyoshi, Edith Halpert, Henry Hope, Henry Strater, Lloyd Goodrich, David Smith, Walt Kuhn, William Zorach, Ernest Fiene, and Samuel Wood Gaylor; gallery and foundry files; notes, writings, and speeches; financial material; lists of works of art; blueprints; exhibition and printed material, clippings, and a scrapbook; photos of source material and works of art owned by Laurent; and material concerning Hamilton Easter Field, Laurent's teacher and friend, including correspondence, guest book signatures, financial and legal papers and Field Foundation material.
REEL 2155: Photographs of Laurent's works of art with catalog sheets listing the title, date, medium, size, ownership, and exhibition information for each work, ca. 1920-1967. Also included are photographs of Laurent in his studio and with others, including Gaston Lachaise and David Smith; a photo of Chaim Gross; and photos of the Ogunquit Museum in Maine.
UNMICROFILMED: A black and white photograph of the Field Foundation Dinner Auction-Dinner-Dance, Ogunquit, Maine. Depicted are Lloyd Goodrich, Yasuo Kuniyoshi, William Zorach, Robert Laurent, Emil Ganso and others.
Biographical / Historical:
Painter, sculptor, teacher, etcher, and writer; Brooklyn, New York & Ogunquit, Maine. Laurent studied under Hamilton Easter Field, and both were from Brooklyn, N.Y. and were involved in the summer art colony in Oguniquit, Maine.
Provenance:
Material on reels N68-2-N68-3 was lent for microfilming 1968 by Robert Laurent; he donated material on reel 2 1966; material on reel 497 was lent for microfilming 1973 by John Laurent, son of Robert Laurent; material on reels 2063, 2065-2067 was donated 1978 by John Laurent; He donated additional material on reel 2155 and not filmed with his brother Paul in 1981.
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:
Etchers  Search this
Painters  Search this
Sculptors  Search this
Topic:
Painting, Modern -- 20th century  Search this
Sculpture, Modern -- 20th century  Search this
Etching, Modern -- 20th century  Search this
Identifier:
AAA.laurrobe
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96ee96a38-5fa2-4e34-805b-8a013225135a
EDAN-URL:
ead_collection:sova-aaa-laurrobe

Loretta Hines Howard papers

Creator:
Howard, Loretta Hines  Search this
Names:
Henri, Robert, 1865-1929  Search this
Kuhn, Walt, 1877-1949  Search this
Organ, Marjorie, b. 1886  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1920-1941
Summary:
The papers of painter and collector Loretta Hines Howard measure 0.2 linear feet, date from circa 1920 to 1941, and primarily concern Robert Henri's portrait of Howard and the friendship between Howard and the Henri family. The papers include an artwork, correspondence, printed material, and Robert Henri's annotated color theory chart.
Scope and Contents:
The papers of painter and collector Loretta Hines Howard measure 0.2 linear feet, date from circa 1920 to 1941, and primarily concern Robert Henri's portrait of Howard and the friendship between Howard and the Henri family. The papers include an artwork, correspondence, printed material, and Robert Henri's annotated color theory chart.
Biographical / Historical:
Loretta Hines Howard (1904-1982) was a painter and art collector from Dayton, Ohio, and New York City, New York. She studied painting under Robert Henri, who later painted Howard's portrait. Howard collected nativity scenes and donated her extensive collection to the Metropolitan Museum of Art.
Provenance:
Loretta Howell donated her papers to the Archives of American Art in 1972-1973, through trustee Eloise Spaeth.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Collectors -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Citation:
Loretta Hines Howard papers, circa 1920-1941. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.howalore
See more items in:
Loretta Hines Howard papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9911cc3e4-a18b-4040-bdd4-d3619e59113c
EDAN-URL:
ead_collection:sova-aaa-howalore

William Gropper papers

Creator:
Gropper, William, 1897-1977  Search this
Names:
Federal Art Project  Search this
Heritage Gallery  Search this
Crowninshield, Frank, 1872-1947  Search this
Gropper, Sophie  Search this
Henri, Robert, 1865-1929  Search this
Horowitz, Benjamin, 1912-  Search this
Lozowick, Louis, 1892-1973  Search this
Parsons, Frank Alvah, 1868-1930  Search this
Soyer, Raphael, 1899-1987  Search this
Extent:
3.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Drawings
Date:
1916-1983
Summary:
The papers of painter, illustrator, muralist, and political activist William Gropper measure 3.3 linear feet and date from 1916-1983. Almost one-half of the collection consists of printed materials, including full issues of New Masses, Liberator, and Der Hammer, all featuring illustrations by Gropper. Circa 600 letters include those written to Gropper by Frank Crowninshield, Robert Henri, Louis Lozowick, Raphael Soyer, and others. Also found are photographs of Gropper, his family, colleagues, and friends, as well as scattered writings and notes, business records, biographical information, three drawings, and a fabric sample designed by Gropper.
Scope and Content Note:
The papers of painter, illustrator, muralist, and political activist William Gropper measure 3.3 linear feet and date from 1916-1983.

Three folders of scattered Biographical Information are found for William Gropper, his wife Sophie and their children. Business Records consist of lists of artwork, price lists, contracts, receipts, and other financial records. Scattered Writings and Notes include mostly writings about Gropper by others, lists of works of art, and miscellaneous writings. Works of Art include three original drawings by Gropper and a sample of fabric designed by Gropper. Circa 600 letters within the papers were written to William Gropper between 1916 and 1977 (bulk, 1970s), although Sophie Gropper's correspondence is also included. Found here are letters from Frank Crowninshield, Robert Henri, Louis Lozowick, Frank Alva Parsons, Raphael Soyer, and others. There are also letters concerning Gropper's participation in the Federal Art Project and from Ben Horowitz of the Heritage Gallery who represented Gropper's artwork.

Almost one-half of the collection consists of Printed Materials, including full issues of New Masses, Liberator, and Der Hammer, all featuring illustrations by Gropper. Also found are auction and exhibition catalogs, clippings, press releases, and printed reproductions of Gropper's artwork.

Photographs are of Gropper, his family, colleagues, friends, family vacations, and works of art.
Arrangement:
The collection is arranged into seven series:

Missing Title

Series 1: Biographical Information, circa 1942-1982 (Box 1; 3 Folders)

Series 2: Business Records, circa 1936-1983 (Box 1; 8 Folders)

Series 3: Writings and Notes, circa 1947-1978 (Box 1; 0.2 linear feet)

Series 4: Works of Art, circa 1940s, 1952, after 1958 (Box 1, OV 4; 2 Folders)

Series 5: Correspondence, circa 1916-1983 (Box 1; 0.4 linear feet)

Series 6: Printed Material, circa 1919-1983 (Box 1-3, OV 4; 1.4 linear feet)

Series 7: Photographs, after 1937-circa 1980s (Box 3; 0.8 linear feet)
Biographical Note:
William Gropper was born on December 3rd, 1897 in the Lower East Side of Manhattan. His family was impoverished and his parents worked in the New York garment factories. To help his family, Gropper took odd jobs throughout New York City. When he was not busy working, Gropper nurtured his artistic talents by drawing cartoons on sidewalks and the sides of buildings.

In 1912, Gropper began formal art education at the Ferrer School in Greenwich Village where he was influenced by the Ashcan School of social realists, particularly artists Robert Henri and George Bellows. After the Ferrer School, Gropper studied at the New York School of Fine and Applied Arts on a scholarship granted by Frank Alvah Parsons. Following his education, Gropper worked simultaneously at the New York Tribune and Rebel Worker as a draftsman and cartoonist respectively. He continued a career as a cartoonist and illustrator for publications such as Vanity Fair, New Masses, The Nation, Freiheit, and various Jewish and Hebrew publications for more than thirty years. Gropper's cartoons typically portrayed the everyday worker and the injustices he suffered.

Gropper, who was also a painter, produced powerful imagery of social protest. His subjects included industrial strikes and the labor wars of the coal mining and steel industries. Additionally, William Gropper received several commissions from the Federal Arts Project, Works Progress Administration to create murals for various public buildings around the country, including one for the United States Department of the Interior building in Washington, D.C. Here, he created Construction of the Dam to represent the combination of labor and technology to construct various dams on the Colorado River. The Guggenheim Foundation awarded a fellowship to Gropper to travel to the impoverished Dust Bowl region. This trip inspired a series of illustrations that appeared in The Nation. Gropper's trips to Russia and Poland also served to inspire his art.

Later in his career, William Gropper exhibited his artwork throughout the United States and the world. Gropper was also one of the originial members of the Artists Equity Association founded in 1947. Gropper's artwork can be found in the permanent collections of the Smithsonian Institution, The National Gallery of Art, The Butler Institute of American Art, Princeton University, The Phillips Collection, The William J. Clinton Presidential Library as well as many other museums and universities. William Gropper remained in New York City and the surrounding area with his wife, Sophie until his death in 1977.
Related Material:
Among the holdings of the Archives of American Art is an oral history interview of William Gropper conducted by Bruce Hooton in 1965. The Louis Lozowick papers contain documentation of Lozowick's research and writings for a biography of Gropper.

The Special Collections Research Center at the Syracuse University Library also holds a collection of William Gropper's papers.
Provenance:
The collection was donated by Sophie Gropper, Gropper's widow, in 1984.
Restrictions:
The collection has been digitized and is available online via AAA'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:
Muralists -- New York (State) -- New York  Search this
Political activists  Search this
Painters -- New York (State) -- New York  Search this
Illustrators -- New York (State) -- New York  Search this
Art -- Political aspects  Search this
Genre/Form:
Photographs
Drawings
Citation:
William Gropper papers, 1916-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gropwill
See more items in:
William Gropper papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e430368f-2088-4e89-b931-4d3f5fbcfb4e
EDAN-URL:
ead_collection:sova-aaa-gropwill
Online Media:

Frank K. M. Rehn Galleries records

Creator:
Frank K. M. Rehn Galleries  Search this
Names:
Bartlett, Frederic Clay, 1873-1953  Search this
Bellows, George, 1882-1925  Search this
Brook, Alexander, 1898-1980  Search this
Burchfield, Charles Ephraim, 1893-1967  Search this
Chappell, Warren, 1904-  Search this
Clancy, John C., 1897-1981  Search this
Coleman, Glenn O., 1887-1932  Search this
Cook, Howard Norton, 1901-1980  Search this
Cuthbert, Virginia, 1908-2001  Search this
Dasburg, Andrew, 1887-1979  Search this
Gellatly, John, 1853-1931  Search this
Hawthorne, Charles Webster, 1872-1930  Search this
Henri, Robert, 1865-1929  Search this
Hopper, Edward, 1882-1967  Search this
Hopper, Jo N. (Josephine Nivison), 1883-1968  Search this
James, Alexander, 1890-1946  Search this
Kroll, Leon, 1884-1974  Search this
Luks, George Benjamin, 1867-1933  Search this
Mangravite, Peppino, 1896-  Search this
Marsh, Felicia Meyer, 1912-1978  Search this
Marsh, Reginald, 1898-1954  Search this
McFee, Henry Lee, 1886-1953  Search this
Melchers, Gari, 1860-1932  Search this
Orton, J. Robert  Search this
Pepper, Charles Hovey, 1864-1950  Search this
Phillips, Duncan, 1886-1966  Search this
Poor, Henry Varnum, 1887-1970  Search this
Russo, Alexander  Search this
Spalding, John T.  Search this
Sparhawk-Jones, Elizabeth, 1885-1968  Search this
Speicher, Eugene Edward, 1883-1962  Search this
Spruance, Benton, 1904-1967  Search this
Strater, Henry, 1896-  Search this
Tucker, Allen, 1866-1939  Search this
Tucker, Richard Derby, 1903-  Search this
Winters, Denny Sonke, 1907-1985  Search this
Young, Mahonri Mackintosh, 1877-1957  Search this
Extent:
21.8 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketchbooks
Photographs
Date:
1858-1969
bulk 1919-1968
Summary:
The Frank K. M. Rehn Galleries records measure 21.8 linear feet and are dated 1858-1969 (bulk 1919-1968). The records consist mainly of business correspondence with collectors, artists, museums and arts organizations, colleagues, and others. A small amount of Frank K. M. Rehns personal correspondence and a few stray personal papers of individual artists are interfiled. Also included are financial records, scrapbooks, printed matter, miscellaneous records, and photographs documenting most of the history of a highly regarded New York City art gallery devoted to American painting.
Scope and Content Note:
The Frank K. M. Rehn Galleries records measure 21.8 linear feet and are dated 1858-1969 (bulk 1919-1968). The records consist mainly of business correspondence with collectors, artists, museums and arts organizations, colleagues, and others. A small amount of Frank K. M. Rehn's personal correspondence and a few stray personal papers of individual artists are interfiled. Also included are financial records, scrapbooks, printed matter, miscellaneous records, and photographs documenting most of the history of a highly regarded New York art gallery devoted to American painting.

Series 1: Correspondence contains correspondence with artists, museums and arts organizations, collectors, colleagues, and others documents the workings of Rehn Galleries from its earliest days through 1968. A small amount of Frank K. M. Rehn's personal correspondence and a few scattered personal papers of individual artists are interfiled with the business correspondence.

Series 2: Financial Records includes banking, insurance, and investment records, tax returns and related documentation, miscellaneous financial records and paid bills. Among the insurance records are detailed monthly schedules listing paintings with titles, artists, and insurance values. Miscellaneous financial records include inventories of gallery stock, notes regarding business expenses and income, and receipt books recording incoming paintings. Also included are a small number of items concerning the personal business of Frank Rehn and John Clancy.

Five volumes of Scrapbooks (Series 3) contain clippings and a small number of exhibition catalogs documenting the activities of Rehn Galleries and many of its associated artists. Additional Printed Matter in Series 4 includes material relating to Rehn Galleries and its artists, as well as publications produced by Rehn Galleries. General, art-related printed matter consists of articles, auction catalogs, advertisements, and publications of various museums, arts organizations, and schools. There is also material about artists not affiliated with Rehn Galleries. Additional printed items concern miscellaneous subjects that are not art-related.

Series 5: Miscellaneous Records, includes artwork, lists and notes, and writings. Photographs in Series 6 are of people including artists represented by Rehn as well as several not affiliated with the gallery. Noticeably absent are likenesses of Frank Rehn and John Clancy. Photographs of works of art are by Rehn Galleries' artists and others. Reginald Marsh's photographs consist of family and personal photographs that were either given to Rehn Galleries or perhaps loaned for research use, and include views of Marsh from early childhood through later life, photographs of family and friends, and a small family album. Also included are photographs are of Marsh's childhood drawings.
Arrangement:
Series 1: Correspondence is arranged alphabetically and Series 3: Scrapbooks is in rough chronological order. Series 2, and 4-6 are arranged in categories, as indicated in the Series Descriptions/Container Listing. Unless otherwise noted, items within each folder are arranged chronologically.

The collection is arranged into 6 series:

Missing Title

Series 1: Correspondence, 1858-1969, undated (Boxes 1-15; 14.4 linear ft.; Reels 5849-5869)

Series 2: Financial Records, 1919-1968, undated (Boxes 15-17; 2.6 linear ft; Reel 5869)

Series 3: Scrapbooks, 1919-1940 (Boxes 23-24; 0.6 linear ft.; Reels 5869-5870)

Series 4: Printed Matter, 1882-1969, undated (Boxes 18-20; 2.4 linear ft.; Reels 5870-5872)

Series 5: Miscellaneous Records, circa 1920-1968 (Boxes 20-21; 0.7 linear ft; Reel 5872)

Series 6: Photographs, 1871-1966, undated (Boxes 22, 24, OV 25; 1.0 linear ft.; Reel 5872)
Historical Note:
Frank K. M. Rehn (1886-1956), son of the marine painter Frank Knox Morton Rehn, after several years' experience as an employee of the Milch Galleries and as exhibition manager for the Salmagundi Club, opened his own art gallery in 1918. In its earliest years, the gallery operated as the Galleries of Frank K. M. Rehn. From the mid 1920s through the mid 1940s, the name used was Frank K. M. Rehn Galleries. As early as 1946, the gallery was referred to simply as Rehn Galleries. The gallery closed in 1981.

Throughout its existence, Rehn Galleries specialized in representing American painters. During the first five years Rehn's operation was a private gallery at 6 West 50th Street, New York City. Among the artists he first represented were older, established men such as J. Alden Weir, George Inness, Alexander Wyant, Theodore Robinson, Thomas Dewing, and John H. Twachtman. Occasionally, Rehn handled works by such luminaries of the period as Robert Henri, George Luks, and John Singer Sargent. Among the living artists affiliated with the gallery in its first years were Daniel Garber, Walter Griffin, Dodge MacKnight, and Robert Spencer. Rehn's most popular artist during this time was Childe Hassam, who sued for recovery of a painting that, although acquired by Rehn through a reputable dealer, had been stolen from Hassam's studio many years earlier.

Despite the newspaper publicity surrounding Hassam's lawsuit, the business was a successful venture almost immediately. Very early, a number of important collectors including Duncan Phillips, John Gellatly, John T. Spaulding, Albert McVitty, E. W. Root, and C. Vanderbilt Barton displayed confidence in Rehn's judgment and integrity, which enhanced his gallery's reputation and stature among both collectors and artists. In 1923, the gallery moved to 693 Fifth Avenue and began operating as Rehn Galleries, a commercial gallery in the same building that housed in a building that housed Kennedy and Company and the Bourgeois Galleries. At this time, Rehn hired an assistant, John C. Clancy (1897-1981), who had formerly been with Henry Reinhardt and Son and M. Knoedler.

The Rehn Galleries soon enjoyed a regular following among museum curators and collectors visiting from out of town. The gallery's roster of artists grew along with its reputation. Rehn focused almost exclusively on American painters, occasionally showing drawings and prints by artists who were primarily painters; notable exceptions were sculptor Mahonri Young and Henry Varnum Poor who, in addition to being a painter, was known for his work in ceramics. Among the painters eventually represented were: Peggy Bacon, George Bellows, Alexander Brook, Charles Burchfield, John F. Carlson, John Carroll, Howard Cook, Jon Corbino, Virginia Cuthbert, Andrew Dasberg, Sidney Gross, Edward Hopper, Alexander James, Irving Kaufmann, Yeffe Kimball, Leon Kroll, Peppino Mangravite, Reginald and Felicia Meyer Marsh, Henry Mattson, Henry Lee McFee, Kenneth Hayes Miller, Charles Rosen, Robert Riggs, Alexander Russo, Elizabeth Sparhawk-Jones, Eugene Speicher, Henry Strater, Richard Derby Tucker, Franklin C. Watkins, and Denny Winters.

In 1930, Rehn Galleries moved one block south to the Air France Building at 683 Fifth Avenue, and remained there for thirty years. John C. Clancy, Rehn's long-time assistant, became Gallery Director in 1953 after a stroke prevented Rehn from continuing to run his business in an active capacity. Eventually, Rehn's widow sold Clancy the gallery, which he continued to operate under varying names, including Rehn Gallery, Frank K. M. Rehn Galleries, Frank Rehn Gallery, and Rehn Galleries. From 1960 until 1966, The Rehn Galleries were at 36 East 61st Street from 1960 until 1966, when the gallery moved to a space formerly occupied by Kootz Gallery at 855 Madison Avenue, where it remained in business for another fifteen years.
Related Material:
John Clancy interview by Paul Cummings, July 10, 1970. Oral History Program, Archives of American Art, Smithsonian Institution.

Samuel Adler Papers, 1902-1979. Archives of American Art, Smithsonian Institution. Contains a recording (1 cassette; untranscribed) of Beverly Chesler interviewing John Clancy about the history of Rehn Galleries, 1973; Samuel Adler is present and participates briefly in the interview.
Provenance:
The Frank K. M. Rehn Galleries records were loaned by John Clancy for microfilming in 1959; in 1966, this same material was donated to the Archives. Mr. Clancy made subsequent gifts of additional gallery records in 1978 and 1981. In 1985, the Whitney Museum of American Art donated to the Archives correspondence with Edward Hopper that John Clancy had loaned the museum many years earlier. A death mask of George Luks received with the collection is on extended loan to the National Portrait Gallery, Smithsonian Institution.
Restrictions:
The collection has been digitized and is available online via AAA'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:
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Works of art  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Scrapbooks
Sketchbooks
Photographs
Citation:
Frank K. M. Rehn Galleries records, 1858-1969 (bulk 1919-1968). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.franrehg
See more items in:
Frank K. M. Rehn Galleries records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b5275f6d-e2b7-4f51-a515-53b316671902
EDAN-URL:
ead_collection:sova-aaa-franrehg
Online Media:

Carl Gordon Cutler papers

Creator:
Cutler, Carl Gordon, 1873-1945  Search this
Names:
Henri, Robert, 1865-1929  Search this
Pepper, Stephen C. (Stephen Coburn), 1891-  Search this
Turney, Winthrop, b. 1884  Search this
Wau, P. P.  Search this
Whiting, Almon C. (Almon Clark), b. 1878  Search this
Extent:
282 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1898-1944
Scope and Contents:
Letters from Winthrop Turney, Almon C. Whiting , and a letter from Robert Henri to Stephen C. Pepper; miscellaneous papers and printed material; photographs of Cutler's works; a drawing by P. P. Wau; and two watercolors by Cutler.
Biographical / Historical:
Painter. Father of sculptor Charles Gordon Cutler.
Provenance:
Donated 1975 by Mrs. Carl Gordon Cutler and Mrs. Charles Gordon Cutler.
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:
Watercolorists  Search this
Etchers  Search this
Painters  Search this
Identifier:
AAA.cutlcarl
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f0d1fbbd-0a83-40fd-bcf5-cd5d59609670
EDAN-URL:
ead_collection:sova-aaa-cutlcarl

Henri, Robert (1865-1929)

Collection Creator:
Archambault, Anna Margaretta, 1856-1956  Search this
Container:
Reel P026, Frame 769
Type:
Archival materials
Microform [P026.archambaul]
Date:
1933 May 19
Scope and Contents:
Letter from Ruth Dwight McVitty to A. Margaretta Archambault, May 19, 1933, concerning a Robert Henri exhibition.
Collection Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
See more items in:
Anna Margaretta Archambault selected papers
Anna Margaretta Archambault selected papers / Series 1: Anna Margaretta Archambault selected papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92fd7f40e-f47c-40b2-9cac-f458682d0924
EDAN-URL:
ead_component:sova-aaa-archanna-ref171

Elizabeth Campbell Fisher Clay papers

Creator:
Clay, Elizabeth Campbell Fisher, 1871-1959  Search this
Names:
Smith College  Search this
Henri, Robert, 1865-1929  Search this
Rothenstein, William, Sir, 1872-1945  Search this
Extent:
1.9 Linear feet
0.057 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sketches
Photographs
Sound recordings
Drawings
Travel diaries
Paintings
Sketchbooks
Diaries
Place:
Netherlands -- description and travel
New York (N.Y.) -- Description and views
France -- description and travel
California -- description and travel
England -- description and travel
Date:
circa 1873-circa 2015
bulk 1890-1930
Summary:
The papers of Massachusetts lithographer and etcher Elizabeth Campbell Fisher Clay measure 1.9 linear feet and 0.057 GB and date from circa 1873 to circa 2015, with the bulk of materials from 1890 to 1930. This collection includes biographical materials, correspondence, writings, fifteen diaries, six travel diaries, teaching files, artwork, printed materials, and photographs.
Scope and Contents:
The papers of Massachusetts lithographer and etcher Elizabeth Campbell Fisher Clay measure 1.9 linear feet and 0.057 GB and date from circa 1873 to circa 2015, with the bulk of materials from 1890 to 1930. This collection includes biographical materials, correspondence, writings, fifteen diaries, six travel diaries, teaching files, artwork, printed materials, and photographs.

Biographical materials include ephemera from a Spain trip, and other miscellany.

The bulk of the correspondence consists of letters from artist Robert Henri giving advice and information about travel plans and visits. Other correspondents include family members, the artist William Rothenstein, and a few others.

Writings include annotated appointment calendars, art class notes, notebooks, and a book register. Diaries and travel diaries describe Smith College, feedback from Robert Henri regarding artwork, and travels abroad to England, France, and Holland, as well as to New York and California. There are a few sketches scattered throughout the diaries. There is an audiocassette and digitized photographs and content related to the diaries. There is also an annotated chronological list of the diaries.

Artwork consists of one sketchbook and several folders of loose sketches, drawings, and paintings of people and places.

Printed materials consist of a few news clippings about Smith College, a newspaper image of an art class trip to Spain, 2 reviews of exhibitions, and a clipping about the New York School of Art.

Photographs are of Elizabeth Campbell Fisher Clay, family, friends, artists, travel, and houses. There are three photograph albums: one of the woods around Smith College; another album of travel photographs in France and Holland that includes photographs of Clay and fellow art students painting at various locations; and an album of Paris photographs that depict the studio Clay shared with other students, friends, and a few images of Robert Henri. Some photographs are annotated.
Arrangement:
The collection is arranged as 7 series.

Missing Title

Series 1: Biographical Material, 1906-circa 2015 (0.1 linear feet, 0.001 MB; Box 1, ER01)

Series 2: Correspondence, 1897-1960 (0.1 linear feet; Box 1)

Series 3: Writings and Notebooks, circa 1898-1959 (0.1 linear feet; Box 1)

Series 4: Diaries, 1887-circa 2005 (1 linear feet, 0.016 GB; Boxes 1-2, ER02-ER03)

Series 5: Artwork, circa 1890-circa 1957 (0.3 linear feet, Boxes 2-3, OV 4)

Series 6: Printed Materials, 1894-1957 (0.1 linear feet; Box 3, OV 4)

Series 7: Photographs, circa 1873-1987 (0.2 linear feet; Box 3)
Biographical / Historical:
Elizabeth Campbell Fisher Clay (1871-1959) was a lithographer and etcher who worked in Massachusetts and Halifax, England.

Elizabeth Campbell Fisher Clay was born in West Dedham, Massachusetts in 1871. Her parents were Joseph and Mary Elizabeth Fisher and she had 2 siblings, Hattie and Joseph. Clay graduated from Smith College in Northampton, Massachusetts in 1892. She then attended the Museum of Fine Arts in Boston and the New York School of Art, where she studied under Robert Henri and William Merritt Chase from approximately 1898 to 1909. Around this same time, Clay traveled abroad and studied art in Holland and Spain. She also attended the Art Students League of New York and studied in Paris where she shared a studio with other art students. Robert Henri, whom Clay considered a mentor, regularly visited the Paris studio to review the students' work.

In 1908, Clay had a solo exhibition at Rowland's Gallery in Boston. In 1909, she married Howard Clay in Dedham, Massachusetts. Henry was the alderman of Halifax, England, and the couple moved there sometime after their marriage. They had three children, Howard Fisher Clay, Monica Mary, and Harriet.

Clay continued to exhibit her artwork in England for over 30 years. She exhibited at the British Society of Women Artists, the New English Art Club, the Royal Academy of Arts, the Royal Cambrian Academy of Art, the Royal Society of British Artists, the Women's International Art Club, and the Yorkshire Union of Arts. In Massachusetts, her artwork was in exhibitions at the Boston Art Club, the Copley Society of Art, and other venues.

Elizabeth Campbell Fisher Clay eventually returned to the United States and passed away in Philadelphia in 1959.
Provenance:
This collection was donated to the Archives of American Art in 2015 by Harriet Fisher Bemus, Elizabeth Campbell Fisher Clay's daughter.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washingon, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Lithographers -- Massachusetts  Search this
Etchers -- Massachusetts  Search this
Topic:
Art -- Study and teaching  Search this
Women artists  Search this
Women printmakers  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Sketches
Photographs
Sound recordings
Drawings
Travel diaries
Paintings
Sketchbooks
Diaries
Citation:
Elizabeth Campbell Fisher Clay papers, circa 1873-circa 2015, bulk 1890-1930. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.clayeliz
See more items in:
Elizabeth Campbell Fisher Clay papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94cb6f3e6-516d-4599-b45d-bd675608cf03
EDAN-URL:
ead_collection:sova-aaa-clayeliz

Natalie Van Vleck papers

Creator:
Van Vleck, Natalie, 1901-1974  Search this
Names:
Art Students League (New York, N.Y.)  Search this
Henri, Robert, 1865-1929  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1919-1992
bulk 1919-1925
Summary:
The papers of New York City and Connecticut painter and printmaker Natalie Van Vleck measure 0.4 linear feet and date from 1919 to 1992, with the bulk of the material dating from 1919-1925. Three sketchbooks, loose sketches, and a notebook focus on Van Vleck's time studying at the Art Students League and trip to Europe in the 1920s. 1992 records consist of an exhibition catalog and clippings concerning an exhibition at Flanders Nature Center and Land Trust.
Scope and Contents:
The papers of New York City and Connecticut painter and printmaker Natalie Van Vleck measure 0.4 linear feet and date from 1919 to 1992, with the bulk of the material dating from 1919-1925. Three sketchbooks, loose sketches, and a notebook focus on Van Vleck's time studying at the Art Students League and trip to Europe in the 1920s. 1992 records consist of an exhibition catalog and clippings concerning an exhibition at Flanders Nature Center and Land Trust.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Natalie Van Vleck (1901-1981) was a painter and printmaker active in New York City, New York and Woodbury, Connecticut. Van Vleck studied at the Art Students League with George B. Bridgman, Robert Henri and Max Weber. An environmentalist, Van Vleck stopped painting in 1934 to focus on farming, and later founded the Flanders Nature Center and Land Trust.
Provenance:
Donated 1992 by the Flanders Nature Center and Van Vleck Farm Sanctuary, founded by Natalie Van Vleck in 1963, and to which she left the contents of her studio as well as her land, home, and two farmhouses as an endowment.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Connecticut -- Woodbury  Search this
Painters -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Printmakers -- Connecticut -- Woodbury  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women printmakers  Search this
Genre/Form:
Sketchbooks
Citation:
Natalie Van Vleck papers, 1919-1992. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.vanvlec
See more items in:
Natalie Van Vleck papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9148d8f91-768a-4372-97bd-231f893177c1
EDAN-URL:
ead_collection:sova-aaa-vanvlec

Minutes

Extent:
8.70 cu. ft. (9 document boxes) (7 12x17 boxes) (1 16x20 box)
Type:
Collection descriptions
Archival materials
Manuscripts
Date:
1846-1995
Descriptive Entry:
These records are the official minutes of the Board. They are compiled at the direction of the Secretary of the Smithsonian, who is also secretary to the Board, after approval by the Regents' Executive Committee and by the Regents themselves. The minutes are edited, not a verbatim account of proceedings. For reasons unknown, there are no manuscript minutes for the period from 1857 through 1890; and researchers must rely on printed minutes published in the Annual Report of the Smithsonian Institution instead. Minutes are transferred regularly from the Secretary's Office to the Archives. Minutes less than 15 years old are closed to researchers. Indexes exist for the period from 1907 to 1946 and can be useful.
Historical Note:
The Smithsonian Institution was created by authority of an Act of Congress approved August 10, 1846. The Act entrusted direction of the Smithsonian to a body called the Establishment, composed of the President; the Vice President; the Chief Justice of the United States; the secretaries of State, War, Navy, Interior, and Agriculture; the Attorney General; and the Postmaster General. In fact, however, the Establishment last met in 1877, and control of the Smithsonian has always been exercised by its Board of Regents. The membership of the Regents consists of the Vice President and the Chief Justice of the United States; three members each of the Senate and House of Representatives; two citizens of the District of Columbia; and seven citizens of the several states, no two from the same state. (Prior to 1970 the category of Citizen Regents not residents of Washington consisted of four members). By custom the Chief Justice is Chancellor. The office was at first held by the Vice President. However, when Millard Fillmore succeeded to the presidency on the death of Zachary Taylor in 1851, Chief Justice Roger Brooke Taney was chosen in his stead. The office has always been filled by the Chief Justice since that time.

The Regents of the Smithsonian have included distinguished Americans from many walks of life. Ex officio members (Vice President) have been: Spiro T. Agnew, Chester A. Arthur, Allen W. Barkley, John C. Breckenridge, George Bush, Schuyler Colfax, Calvin Coolidge, Charles Curtis, George M. Dallas, Charles G. Dawes, Charles W. Fairbanks, Millard Fillmore, Gerald R. Ford, John N. Garner, Hannibal Hamlin, Thomas A. Hendricks, Garret A. Hobart, Hubert H. Humphrey, Andrew Johnson, Lyndon B. Johnson, William R. King, Thomas R. Marshall, Walter F. Mondale, Levi P. Morton, Richard M. Nixon, Nelson A. Rockefeller, Theodore Roosevelt, James S. Sherman, Adlai E. Stevenson, Harry S. Truman, Henry A. Wallace, William A. Wheeler, Henry Wilson.

Ex officio members (Chief Justice) have been: Roger B. Taney, Salmon P. Chase, Nathan Clifford, Morrison R. Waite, Samuel F. Miller, Melville W. Fuller, Edward D. White, William Howard Taft, Charles Evans Hughes, Harlan F. Stone, Fred M. Vinson, Earl Warren, Warren E. Burger.

Regents on the part of the Senate have been: Clinton P. Anderson, Newton Booth, Sidney Breese, Lewis Cass, Robert Milledge Charlton, Bennet Champ Clark, Francis M. Cockrell, Shelby Moore Cullom, Garrett Davis, Jefferson Davis, George Franklin Edmunds, George Evans, Edwin J. Garn, Walter F. George, Barry Goldwater, George Gray, Hannibal Hamlin, Nathaniel Peter Hill, George Frisbie Hoar, Henry French Hollis, Henry M. Jackson, William Lindsay, Henry Cabot Lodge, Medill McCormick, James Murray Mason, Samuel Bell Maxey, Robert B. Morgan, Frank E. Moss, Claiborne Pell, George Wharton Pepper, David A. Reed, Leverett Saltonstall, Hugh Scott, Alexander H. Smith, Robert A. Taft, Lyman Trumbull, Wallace H. White, Jr., Robert Enoch Withers.

Regents on the part of the House of Representatives have included: Edward P. Boland, Frank T. Bow, William Campbell Breckenridge, Overton Brooks, Benjamin Butterworth, Clarence Cannon, Lucius Cartrell, Hiester Clymer, William Colcock, William P. Cole, Jr., Maurice Connolly, Silvio O. Conte, Edward E. Cox, Edward H. Crump, John Dalzell, Nathaniel Deering, Hugh A. Dinsmore, William English, John Farnsworth, Scott Ferris, Graham Fitch, James Garfield, Charles L. Gifford, T. Alan Goldsborough, Frank L. Greene, Gerry Hazleton, Benjamin Hill, Henry Hilliard, Ebenezer Hoar, William Hough, William M. Howard, Albert Johnson, Leroy Johnson, Joseph Johnston, Michael Kirwan, James T. Lloyd, Robert Luce, Robert McClelland, Samuel K. McConnell, Jr., George H. Mahon, George McCrary, Edward McPherson, James R. Mann, George Perkins Marsh, Norman Y. Mineta, A. J. Monteague, R. Walton Moore, Walter H. Newton, Robert Dale Owen, James Patterson, William Phelps, Luke Poland, John Van Schaick Lansing Pruyn, B. Carroll Reece, Ernest W. Roberts, Otho Robards Singleton, Frank Thompson, Jr., John M. Vorys, Hiram Warner, Joseph Wheeler.

Citizen Regents have been: David C. Acheson, Louis Agassiz, James B. Angell, Anne L. Armstrong, William Backhouse Astor, J. Paul Austin, Alexander Dallas Bache, George Edmund Badger, George Bancroft, Alexander Graham Bell, James Gabriel Berrett, John McPherson Berrien, Robert W. Bingham, Sayles Jenks Bowen, William G. Bowen, Robert S. Brookings, John Nicholas Brown, William A. M. Burden, Vannevar Bush, Charles F. Choate, Jr., Rufus Choate, Arthur H. Compton, Henry David Cooke, Henry Coppee, Samuel Sullivan Cox, Edward H. Crump, James Dwight Dana, Harvey N. Davis, William Lewis Dayton, Everette Lee Degolyer, Richard Delafield, Frederic A. Delano, Charles Devens, Matthew Gault Emery, Cornelius Conway Felton, Robert V. Fleming, Murray Gell-Mann, Robert F. Goheen, Asa Gray, George Gray, Crawford Hallock Greenwalt, Nancy Hanks, Caryl Parker Haskins, Gideon Hawley, John B. Henderson, John B. Henderson, Jr., A. Leon Higginbotham, Jr., Gardner Greene Hubbard, Charles Evans Hughes, Carlisle H. Humelsine, Jerome C. Hunsaker, William Preston Johnston, Irwin B. Laughlin, Walter Lenox, Augustus P. Loring, John Maclean, William Beans Magruder, John Walker Maury, Montgomery Cunningham Meigs, John C. Merriam, R. Walton Moore, Roland S. Morris, Dwight W. Morrow, Richard Olney, Peter Parker, Noah Porter, William Campbell Preston, Owen Josephus Roberts, Richard Rush, William Winston Seaton, Alexander Roby Shepherd, William Tecumseh Sherman, Otho Robards Singleton, Joseph Gilbert Totten, John Thomas Towers, Frederic C. Walcott, Richard Wallach, Thomas J. Watson, Jr., James E. Webb, James Clarke Welling, Andrew Dickson White, Henry White, Theodore Dwight Woolsey.
Topic:
Museums -- Administration  Search this
Museum trustees  Search this
Genre/Form:
Manuscripts
Citation:
Smithsonian Institution Archives, Record Unit 1, Smithsonian Institution, Board of Regents, Minutes
Identifier:
Record Unit 1
See more items in:
Minutes
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-faru0001
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Minutes digital asset number 1

Breton Women, (painting)

Painter:
Henri, Robert 1865-1929  Search this
Medium:
Watercolor on paper
Culture:
French  Search this
Type:
Paintings
Date:
Ca. 1894
Topic:
Figure group--Female  Search this
Ethnic  Search this
Control number:
IAP 8C110017
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_420073

Robert Henri diary, 1891

Creator:
Henri, Robert, 1865-1929  Search this
Citation:
Robert Henri diary, 1891. Archives of American Art, Smithsonian Institution.
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)21697
(DSI-AAA_SIRISBib)398504
AAA_collcode_henrirob
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_398504

Fergus [painting] / (photographed by Peter A. Juley & Son)

Artist:
Henri, Robert 1865-1929  Search this
Subject:
Unidentified  Search this
Type:
Photograph
Date:
1928
Topic:
Portrait male--Fergus  Search this
Portrait male--Child  Search this
Image number:
JUL J0114413
See more items in:
Photograph Study Collection
Data Source:
Photograph Study Collection, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_114414

Emma Goldman (painting) / (photographed by Peter A. Juley & Son)

Artist:
Henri, Robert 1865-1929  Search this
Subject:
Goldman, Emma  Search this
Type:
Photograph
Date:
1915
Topic:
Portrait female--Full length  Search this
Occupation--Other--Reformer  Search this
Image number:
JUL J0126447
See more items in:
Photograph Study Collection
Data Source:
Photograph Study Collection, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_126465

Girl with Fan [photomechanical print]

Artist:
Henri, Robert 1865-1929  Search this
Physical description:
1 photomechanical print black and white
Type:
Photomechanical prints
Date:
Copyrighted 1914
Topic:
Figure female--Full length  Search this
Dress--Accessory--Fan  Search this
Image number:
LOC LC001075
See more items in:
Photograph Study Collection
Library of Congress Copyright Deposit Collection
Data Source:
Photograph Study Collection, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_138926

The Equestrienne [photomechanical print]

Artist:
Henri, Robert 1865-1929  Search this
Photographic firm:
Detroit Publishing Co.  Search this
Physical description:
1 photomechanical print black and white
Type:
Photomechanical prints
Date:
Copyrighted 1917
Topic:
Figure female--Full length  Search this
Dress--Uniform--Sports Uniform  Search this
Dress--Accessory--Riding Crop  Search this
Image number:
LOC LC001076
See more items in:
Photograph Study Collection
Library of Congress Copyright Deposit Collection
Data Source:
Photograph Study Collection, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_138927

Girl in a Green Coat [painting] / (photographed by William McKillop)

Title:
Green Sacque [painting] / (photographed by William McKillop)
Artist:
Henri, Robert 1865-1929  Search this
Subject:
Unidentified  Search this
Type:
Photograph
Topic:
Portrait female--Child  Search this
Image number:
JUL J0014173
See more items in:
Photograph Study Collection
Data Source:
Photograph Study Collection, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_14173

The Wee Woman [painting] / (photographed by William McKillop)

Artist:
Henri, Robert 1865-1929  Search this
Subject:
Unidentified  Search this
Type:
Photograph
Date:
1927
Topic:
Portrait female--Child  Search this
Ethnic  Search this
Image number:
JUL J0014174
See more items in:
Photograph Study Collection
Data Source:
Photograph Study Collection, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_14174

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