A. B. (Arthur Burdett) Frost. A. B. (Arthur Burdett) Frost letter to Adelaide Lawson Gaylor, 1905. Wood and Adelaide Lawson Gaylor papers, circa 1849-1986. Archives of American Art, Smithsonian Institution.
Adolph Friedrich Reinhardt. Ad Reinhardt Valentine to Selina Trieff, 1955 Feb. 18. Selina Trieff papers, 1951-1981. Archives of American Art, Smithsonian Institution.
Adolph Friedrich Reinhardt. Ad Reinhardt birthday card to Selina Trieff, 1955 Feb. 3. Selina Trieff papers, 1951-1981. Archives of American Art, Smithsonian Institution.
Twenty handwritten postcards from Ad Reinhardt to Barbara Mason. Three of the postcards do not have a postmark.
Related Materials:
Also in the Archives is material lent for microfilming (reel 3470) including photocopies of 47 illustrated postcards from Reinhardt to Barbara Mason, 1951-1957; photocopies of four collages by Reinhardt for the newspaper PM, 1946; and photocopies of three illustrated letters from Reinhardt to R. Mason.
Provenance:
Donated 2019 by Barbara G. Fleischman. Photocopies of material on reel 3470 were lent for microfilming by Marrtin Diamond in 1979.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Cartoonists -- New York (State) -- New York Search this
(illustrated letter and a handmade card from Adams)
Collection Restrictions:
The collection is open for research. Use requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Foundation.
The papers of arts administrator, collector, and educator Agnes Rindge Claflin concerning Alexander Calder measure 0.2 linear feet and date from 1936-circa 1970s. Included are five letters, two of which are illustrated, and one postcard from Alexander Calder to Claflin; two handwritten manuscripts by Calder, one untitled and "A Propos of Measuring a Mobile," 1943; an invitation to a Calder exhibition at Galerie Maeght, Paris, 1952; and 14 photographs of Calder, of Calder and Claflin in Calder's studio, of Calder's art work, and of a Calder exhibition installation at Vassar Art Gallery, 1942. Transcriptions of three of the letters and both manuscripts are also included.
Scope and Content Note:
The papers of arts administrator, collector, and educator Agnes Rindge Claflin concerning Alexander Calder measure 0.2 linear feet and date from 1936-circa 1970s. Included are five letters and one postcard from Alexander Calder to Claflin, two of which are illustrated; two handwritten manuscripts by Calder, one untitled and "A Propos of Measuring a Mobile," 1943; an invitation to a Calder exhibition at Galerie Maeght, Paris, 1952; and 14 photographs of Calder, of Calder and Claflin in Calder's studio, of Calder's art work, and of a Calder exhibition installation at Vassar Art Gallery, 1942. One photograph depicting an event is possibly the opening of the Calder exhibition at Vassar Art Gallery, 1942. Also included are two polaroid photographs most likely from the 1970s. Transcriptions of three of the letters and both manuscripts are also included.
Arrangement:
Due to the small size of the collection, items are organized into one series of 23 folders:
Missing Title
Series 1: Agnes Rindge Claflin Papers Concerning Alexander Calder, 1936-circa 1970s (Box 1; 23 folders)
Biographical Note:
Agnes Rindge Claflin (1900-1977) was an arts administrator, collector, and educator who spent the majority of her career at Vassar College as a professor and serving as director of its art gallery for 28 years.
Claflin was born Agnes Millicent Rindge in Grand Rapids, Michigan on May 19, 1900. She graduated from the Madeira School in 1917, attended Mount Holyoke College for two years, and graduated magna cum laude from Radcliffe College. Afterwards, Claflin briefly taught at Vassar College before returning to Radcliffe and earning her M.A. and Ph.D. She rejoined the Vassar College faculty in 1928 and served as the director of the Vassar Art Gallery from 1934-1962. Claflin published Sculpture in 1929 and in the 1930s she began writing articles for several different publications. At the request of Alfred Barr, she joined the Advisory Committee for the Museum of Modern Art in 1941 and became the Assistant Executive Vice President from 1943-1944. Claflin held a number of other positions in art organizations such as the Commission on Arts of the American Association of Colleges (1939), Art in America (1940-1943), Art Division of the Coordinator of Inter-American Affairs (1941-1942), American Federation of Arts (1944-1945), and Committee on Fellowships of the College Art Association (1945-1948). She married Philip W. Claflin, a captain in the U.S. Army, in 1945. Throughout her career, Claflin lectured at organizations and universities across the United States, including the Chicago Art Institute, Columbia University, New York University, Yale University, and many others. Agnes Claflin died on June 12, 1977.
Claflin and Calder were colleagues and friends. In 1942, the Vassar Art Gallery hosted a Calder exhibition installation. The following year, Claflin wrote and narrated a short film, "Alexander Calder: Sculpture and Constructions," which was presented with the Museum of Modern Art's Calder exhibition of the same year.
Related Material:
The Archives of American Art holds several collections related to the Agnes Rindge Claflin papers concerning Alexander Calder, including the Alexander Calder papers which have been fully digitized; Alexander Calder letters and photographs microfilmed on reel 4781; Alexander Calder letter microfilmed on reel 2787, frames 963-970; and an oral history interview with Alexander Calder, October 26, 1971, available as a transcript online.
Provenance:
The collection was donated in 1981 by Philip W. Claflin, widower of Agnes Rindge Claflin.
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.
Occupation:
Collectors -- New York (State) -- Poughkeepsie Search this
Arts administrators -- New York (State) Search this
Biographical material; correspondence; writings and notes; sketches; printed material and photographs document the life and career of Albert Henry Krehbiel.
Among the biographical documents is Krehbiel's marriage announcement. Correspondence, 1893-1945 and 1982-1985, consists mostly of illustrated letters from Krehbiel to his family and close friends. The earliest group of letters document his interest in the wheel. Another series, addressed to his sister Linda, includes a "Travel Log" of his transatlantic voyage to Europe and his sojourn there. Other letters written during the same years to his future wife, recount in detail his experiences as an American student in Paris and his travels. A group of letters written in the 1940s reveal Krehbiel's opinions on modern art and the social and political changes at the Cliff Dwellers, an important early Chicago art club. Also found are letters sent to Rebecca Krehbiel regarding her late father-in-law.
Writings and notes include Krehbiel's diary of 1938 containing impressions of Mies van der Rohe, newly appointed director of the Armour Institute. Krehbiel was the only in-place instructor that Mies van der Rohe kept on the staff; a 1906 notebook on Greek costumes, an undated notebook about murals for the State Capitol of South Dakota (Krehbiel did not receive the commission for these); typed proposals for murals in the State Capitol of South Dakota, and for the Supreme and Appellate court rooms in Springfield, Illinois, versions of a manuscript entitled "Life and the Model in Quick Sketches"; notebooks, 1930-1945, containing notes on art and other topics, journal entries, thumbnail sketches of his paintings and watercolors, and notes for talks; loose notes and sketches by Krehbiel and by his wife Dulah.
Published material about Krehbiel includes 1904, 1905 and 1906 issues of L'ACADEMIE JULIAN and newsclippings, 1907-1940 and undated. Photographs are of paintings by both Albert and Dulah Krehbiel, photographs of his studio and of Dulah posing for murals, and family photographs.
Biographical / Historical:
Art educator; mural painter; Chicago, Ill. Born in Iowa, Krehbiel was important as a teacher in Chicago. He was part of the conservative art establishment and painted in both an academic and Impressionist manner. Krehbiel helped set up the Chicago Art Institute Summer School of Painting in Saugatuck and later founded the Albert Krehbiel School of Painting there. He was on the faculties of the Art Institute from 1906-1945, and the Armour Institute, now Illinois Institute of Technology from 1913-1945. He began his studies at the Art Institute of Chicago in 1902. In 1903, he studied on scholarship at the Academie Julian in Paris under Jean-Paul Laurens. He remained in Europe until 1906, during which time he traveled and studied, winning four gold medals and the Prix de Rome. In 1906, he returned to Chicago, married a fellow artist, and joined the faculty of the Art Institute school. In 1907, he won a national competition for the murals in the Supreme and Appellate courtrooms in Springfield, Illinois.
Related Materials:
The Art Institute of Chicago, Institutional Archives holds papers of Dulah Evans Krehbiel and Albert Henry Krehbiel.
Provenance:
Lent for microfilming 1987 by Rebecca Krehbiel, daughter-in-law of Albert Krehbiel.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
0.62 Linear feet ((partially microfilmed on 4 reels))
Type:
Collection descriptions
Archival materials
Date:
1940-1974
Scope and Contents:
Correspondence; photographs; books; lithographs; sketchbooks with notes; exhibition catalogs and clippings.
REELS N68-99-100 & N69-2: Sketchbooks with notes, 1943-1966.
REEL N69-23: Correspondence; an exhibition catalog; and lithographs.
UNMICROFILMED: Correspondence with family members, Philip Evergood, Jack Levine, Raphael Soyer, Chaim Gross, and others; 4 illustrated letters from Dobkin to his wife, 1954; photographs of Dobkin and his work; 2 books illustrated by Dobkin; and exhibition catalogs and clippings.
Biographical / Historical:
Lithographer, illustrator; New York, N.Y. Died 1975.
Provenance:
Sketchbooks on reels N68-99-100 and N69-2 lent for microfilming 1969 by Dobkin. Material on reel N69-23 donated except for lithographs which were returned after microfilming. Unmicrofilmed material donated 1968 and 1976 by Alexander Dobkin and Kathy Dobkin.
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:
Illustrators -- New York (State) -- New York Search this
Lithographers -- New York (State) -- New York Search this
Topic:
Lithography -- 20th century -- New York(N.Y.) Search this
The papers of caricaturist and illustrator Alfred J. Frueh measure 7.7 linear feet and 3.18 GB and date from circa 1880-2010. These papers consist of biographical information, including a sound recording of reminiscences about Frueh by his children; correspondence that includes many illustrated letters and greeting cards; notes and writings; numerous caricature sketches, cartoons, and 25 sketchbooks by Frueh; printed and digital material; and photographs of Frueh and his artwork. There is a 2.3 linear foot unprocessed addition to this collection donated 2020 that includes bound and unbound scrapbooks and loose newspaper and magazine clippings of caricatures by Frueh from the New Yorker and other publications, circa 1920-1940.
Scope and Contents note:
The papers of caricaturist and illustrator Alfred J. Frueh measure 7.7 linear feet and 3.18 GB and date from circa 1880-2010. These papers consist of biographical information, including a sound recording of reminiscences about Frueh by his children; correspondence that includes many illustrated letters and greeting cards; notes and writings; numerous caricature sketches, cartoons, and 25 sketchbooks by Frueh; printed and digital material; and photographs of Frueh and his artwork.There is a 2.3 linear foot unprocessed addition to this collection donated 2020 that includes bound and unbound scrapbooks and loose newspaper and magazine clippings of caricatures by Frueh from the New Yorker and other publications, circa 1920-1940.
Biographical materials include birth, marriage, and death certificates, biographical notes, employment contracts, obituaries, and legal papers concerning patents and license agreements for toy animals and sheet material sculpture. Also included is a 1993 sound recording of Frueh's children reminiscing about their father.
Correspondence consists mainly of incoming letters with a small number of interfiled replies drafted by Frueh. Most of Frueh's surviving outgoing letters are addressed to Giuliette Fanciulli (whom he married in 1913), her parents, and his sister Minnie Frueh. Many of the letters to Giuliette and other family members are illustrated. Also included are a large number of greeting cards (mainly Christmas cards) containing original artwork, from friends, artists, writers, and colleagues. The correspondence concerns both personal and career matters. Notable correspondents are: George Gershwin, Robert Henri, Mr. and Mrs. Elie Nadelman, Eugene O'Neil, Walter and Magda Pach, New Yorker editor Harold Ross, and Alfred Stieglitz. Other letters document Frueh's interest in nut and fruit trees.
Among the notes and writings by Frueh are notes of ideas for art work, lists of caricature sketches, lists of plays and their casts, and 8 address books kept by Alfred and Giuliette Frueh and by Giuliette and her mother. Also included are 6 notebooks of miscellaneous jottings. Notes and writings by other authors consist of lists of caricature sketches, a poem by an unknown writer, and 13 short stories by "Joe" with 6 illustrations by Frueh.
Artwork by Frueh comprises the largest series. It consists mainly of caricature sketches, mostly theatrical, but some political, with a few of himself, his wife Giuliette, and their personal friends. In addition, there are various sketches, drawings, designs, prints, watercolors, cartoons, book covers, greeting cards, paper sculptures, pop-ups, and cut-outs. Also included are patterns for greeting cards, lamp bases and a shade, magic squares, paper sculptures, sheet material sculptures, toy animals, and wallpaper. There are also 25 sketchbooks, a digital slideshow presentation of 1600 images from the sketchbooks, and 3 caricatures of Frueh drawn by other artists.
Among the printed material are articles by and about Frueh; book covers and book jackets, magazine covers, invitations, announcements, and a program cover designed by Frueh; caricatures, cartoons, and illustrations by Frueh; exhibition catalogs and announcements of Frueh's solo and group shows; and miscellaneous printed material.
Photographs consist of a studio portrait and informal snapshots of Alfred Frueh and a photograph of his daughter Barbara as a young child. Photographs of art work by Frueh include images of his caricatures, lamp bases, paper sculptures, and toy animals.
Arrangement note:
The collection is arranged into seven series:
Missing Title
Series 1: Biographical Materials, 1909-1993 (Box 1; 8 folders)
Series 2: Correspondence, circa 1909-1968 (Boxes 1-2, 12, OV 7; 1.3 linear feet)
Series 3: Notes and Writings, circa 1912-1963 (Box 2; 10 folders)
Series 4: Artwork, circa 1906-2010 (Boxes 2-4, 6, 12, OV 8-9; 1.8 linear feet, ER01; 3.18 GB)
Series 5: Printed Material, 1904-1986 (Boxes 4-5, 6, OV 10-11; 0.8 linear feet)
Series 6: Photographs, circa 1880-1967 (Boxes 5, 12; 12 folders)
Series 7: Unprocessed Addition circa 1920-1940 (Boxes 13-17; 2.3 linear feet)
Biographical/Historical note:
Alfred J. Frueh (1880-1968) worked primarily in New York and was best known for his caricatures of theater personalities that appeared in The New Yorker from 1925 through 1962. In addition, he was a cartoonist, illustrator, painter, and designer of children's furniture, toys, pop-ups, and cut-outs.
Upon graduation from the Lima Business College in his native Lima, Ohio, Al Frueh (pronounced "free") began farming and working in his father's brewery. He moved to St. Louis to live with relatives, and from 1904-1908 worked in the art department of the St. Louis Post-Dispatch. Frueh's 1907 cartoon of Fritzi Scheff, published in the St. Louis Post Dispatch, so outraged the music-hall star that her St. Louis performance was cancelled and the attendant publicity made Frueh a celebrity.
Frueh traveled to Paris, London, Rome, Munich, Berlin, and Madrid in 1908 and 1909. During this period, he studied at various art schools in Paris, receiving instruction from Theophile Steinlen, Lucien Simon, Naudin, and Henri Matisse. Upon his return to the United States, Frueh settled in New York City. His tenure at The World was interrupted by a return trip to Europe lasting from late 1912 until late 1914. While abroad, he married Giuliette Fanciulli, whom he had met in New York. He remained with The World for another ten years, also producing other work for publication and exhibition. With a young family, Frueh wanted a less hectic life and decided to switch from a daily publication to a weekly one. Thus began his affiliation with a newly established periodical, The New Yorker. Frueh's work appeared in its 1925 debut issue until his retirement in 1962. Mostly he contributed caricatures for the theater section, but he also produced cover designs, illustrations, and on occasion wrote brief pieces for the "Talk of the Town" and "Notes and Comments" sections. In 1926, Frueh moved his family to a farm in Sharon, Connecticut, where he seriously pursued a longstanding hobby of growing fruit and nut trees.
Alfred J. Frueh died in Sharon, Connecticut, in 1968, after a long illness.
Provenance:
The Alfred J. Frueh papers were the gift of his children, Barbara Frueh Bornemann, Alfred J. Frueh, Jr., and Robert Frueh, in 1993 and 1997. An addition of 25 sketchbooks, scrapbooks, and other materials were given by his grandson Stephen Bornemann in 2011, 2018, and 2020.
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.
Occupation:
Caricaturists -- New York (State) -- New York Search this
Cartoonists -- New York (State) -- New York Search this
Alfred Joseph Frueh. Alfred Joseph Frueh letter to Giuliette Fanciulli, 1913 Jan. 6. Alfred J. Frueh papers, circa 1880-2010. Archives of American Art, Smithsonian Institution.
Alfred Joseph Frueh. Alfred Joseph Frueh to Giuliette Fanciulli, 1913 April 25. Alfred J. Frueh papers, circa 1880-2010. Archives of American Art, Smithsonian Institution.
Wyeth, N. C. (Newell Convers), 1882-1945 Search this
Extent:
8.2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Diaries
Drawings
Christmas cards
Illustrated letters
Cartoons (working drawings)
Sketchbooks
Date:
1841-1987
Summary:
The Allen Tupper True and True family papers date from 1841 to 1987 and measure 8.2 linear feet. The collection presents a good overview of True's personal life and and his career as mural painter and illustrator specializing in Western themes.
Scope and Content Note:
The Allen Tupper True and True family papers date from 1841 to 1987 and measure 8.2 linear feet. The collection presents a good overview of True's personal life and and his career as mural painter and illustrator specializing in Western themes. Through art work, project files, photographs, and printed material, the collection offers a rich resource, both textually and visually of True's research and work on documenting early twentieth century Native Americans cultural traditions. The papers also document True's childhood and his relationship with his family through various family papers, such as correspondence, genealogies, subject files, photographs, and a scrapbook. The collection is a particularly rich resource for the study of Allen Tupper True's work, as well as original documentation of the American West and Native American culture.
Arrangement:
The collection is arranged into thirteen series according to material type. The contents of each series have been arranged chronologically. Glass plate negatives are housed separately and closed to researchers.
Missing Title
Series 1: Biographical Material, 1895-1964, undated (box 1, 7 folders)
Series 2: Subject Files, 1873-1955 (box 1, 23 folders)
Series 3: Correspondence, 1841-1956 (boxes 1-4, 3.5 linear ft.)
Series 4: Business Records, 1903-1951 (box 4, 4 folders)
Series 5: Notes, 1902-1920 (box 5, 10 folders)
Series 6: Writings, 1896-1926 (box 5, 5 folders)
Series 7: Artwork, 1897-1923 (boxes 5, 10, and OV 11, 0.5 linear ft.)
Series 8: Project Files, 1912-1987 (boxes 5-6 and 10, 0.75 linear ft.)
Series 9: Photographs, 1859-1950 (boxes 6-7, 1.5 linear ft.)
Series 10: Scrapbook, 1934 (box 7, 1 volume)
Series 11: Printed Material, 1875-1981 (box 7, 21 folders)
Series 12: Artifacts, ca. 1863 (boxes 7 and 10, 9 items)
Series 13: Glass Plate Negatives, undated (boxes 8-9, 0.8 linear ft.)
Biographical Note:
Allen Tupper True (1881-1955) was born in Colorado Springs, Colorado in 1881. He was a student at the University of Denver, and studied at the Corcoran School of Art, Washington, D.C. between 1901 and 1902. In 1902, he was accepted into Howard Pyle's classes in Chadd's Ford, Pennsylvania, and studied there until 1908, befriending classmates George Harding, Gordon McCouch, Thornton Oakley, and N.C. Wyeth. Through Pyle, True began his career as a magazine illustrator.
From approximately 1913-1915, True worked with British muralist Frank Brangwyn, assisting Brangwyn in the execution of murals at the Panama-Pacific Exposition in San Francisco, California.
After marrying Emma Goodman Eaton in 1915 (divorced 1934), True launched his career as a mural painter. His most notable works include the mural decorations in the state capitol buildings of Colorado, Missouri, Nebraska, and Wyoming, as well as murals for the Mountain States Telephone and Telegraph Company Building and the Civic Center in Denver, Colorado. True specialized in depicting Western and Native American themes.
From 1934-1945, True acted as consultant for the U.S. Bureau of Reclamation, in charge of and designing all decoration and color schemes for the Boulder Dam power plant, Grand Coulee Dam, and the Shasta Dam, among others.
True was a Unitarian Mason, and a member of the Mural Painters of America, Beta Theta Pi, Cactus Club of Denver, and the Author's Club, London. He died in 1955.
Provenance:
The Allen Tupper True and True family papers were donated in February and April 1988 by True's daughter Jane True Mueller and his son, Frank True.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
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.
Includes a 1936 pamphlet of cartoons defending the Works Progress Administration
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Hugo Gellert papers, 1916-1986. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
