The collection is open for research. Patrons must use microfilm copy.
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:
Milch Gallery records, 1911-1995. Archives of American Art, Smithsonian Institution.
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:
Albert Duveen collection of artists' letters and ephemera, 1807-1946. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art.
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:
Sidney C. Woodward papers, 1823-1963, bulk 1915-1932. Archives of American Art, Smithsonian Institution.
Letters to Brauner, mainly from artists invited to participate in exhibitions arranged by Brauner at Cornell University. Prominent correspondents include: Giffford Beal, George Bellows, Frank Benson, Karl Bitter, Edith Burroughs, Emil Carlson, John Carlson, Charles Caffin, Arthur Crisp, Randall Davey, Paul Dougherty, Daniel Garber, Lillian Genth, William Glackens, Childe Hassam, Robert Henri, Charles Hopkinson, Henry Hubbell, John Johansen, William Sargent Kendall; Leon Kroll, Jonas Lie, William Macbeth, William Mason, Gari Melchers, Willard Metcalf, Leonard Ochtman, Bela Lyon Pratt, Maurice Prendergast, A. Phimister Proctor, Edward Redfield, William Ritschel, Walter Sargent, Eugene Speicher, Robert Spencer, D. W. Tryon, C. Howard Walker, Booker T. Washington, Frederick Judd Waugh, and others.
Arrangement:
Arranged chronologically.
Biographical / Historical:
Olaf Brauner (1869-1947) was a portrait painter, occasional sculptor, and first professor of art at Cornell University.
Provenance:
The donor, Erling Brauner, is Olaf Brauner's son.
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.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Mary Fanton Roberts papers, 1880-1956. 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.
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:
Ira and William Glackens papers, circa 1900-1990. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Sansom Foundation.
The collection is open for research. Patrons must use microfilm copy.
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:
Milch Gallery records, 1911-1995. Archives of American Art, Smithsonian Institution.
This series contains the correspondence of Hugo Gellert. Most of the correspondence is of a professional nature, related to Gellert's activities as an artist, political organizer, and activist. Correspondents include artists, friends, family members, Communist Party and Popular Front leaders, labor union leaders, federal art programs personnel, writers, historians, publishers, Hungarian cultural and political figures, and fellow activists. Significant correspondents in this series include Maurice Becker, William Patterson, Floyd Dell, Philip Evergood, Howard Fast, Mike Gold, Robert Gwathmey, and Rockwell Kent.
Letters from individuals involved in leftist political organizations and activities are common throughout the series. In addition to Gellert's fellow Communists and Socialists, a wide variety of political groups are represented, including those concerned with artists' employment and welfare issues, anti-fascist organizations, organized labor, watchdog groups and defense committees for civil liberties during the McCarthy era, advocates for jailed Mexican artist David Siqueiros, and American civil rights groups. Also found is correspondence with editors of publications for which Gellert supplied illustrations, and letters concerning exhibitions and murals.
Noteworthy items found in correspondence include a lengthy letter written by John Dos Passos enclosed with a circa 1930s letter from Carlo Tresca, a draft of an essay by Carl Sandburg with a 1942 letter, and an original New Year's card by Gellert for 1951. Drafts of outgoing letters from 1946 contain a number of sketches of Australian landscapes by Gellert.
See Appendix for names of selected individuals, organizations, and publications found in Series 2.
Arrangement note:
Letters received are interfiled with drafts of outgoing letters in chronological order. Undated correspondence that can be estimated within a decade is filed at the end of each decade with "circa" dates. Additional undated correspondence is filed at the end of the series. Outgoing drafts are common in correspondence and often have estimated dates.
Additional correspondence is found in the Organizational Records series. Additional cards made by Gellert are filed with Artwork. See series description for further details.
Appendix: Selected Individuals, Organizations, and Publications in Series 2:
The following is an index to selected individuals, publications, and organizations represented in the Correspondence in Series 2. This index is not comprehensive.
Additional correspondence is found with Series 4, Organizational Records, and is described in the container listing for that series. Letters which were mass mailings from dozens of political organizations can also be found in Series 5, Printed Materials.
American Civil Liberties Union (ACLU): 1935 (Lucille Milner)
American Committee Against Fascist Oppression in Germany: 1934 (Louis Gibarti)
American Committee for the Protection of the Foreign Born: 1962 (Annette Provinzano)
American League against War and Fascism: 1937 (Albert Prentis)
American Magazine -- : 1935
American Russian Institute: 1952 (Irene Miller, Holland Roberts)
Americans for Democratic Action: 1956 (Edward D. Hollander)
An American Group: 1940 (to Clifton Woodrum)
Aptheker, Herbert: 1959
Arms, John Taylor: 1952 (see also Series 4)
Artists Conference of the Americas: 1939
Artists League of America: 1942 (Dan Koerner)
Artists' Cooperative Group: 1943 (B. Nuno)
Association des Ecrivants et Artistes Revolutionnaries: 1933 (R. Ginsburger)
Balch, Earle: 1932
Bauch, Solomon "Stan": 1941
Becker, Maurice: 1951-1953, 1961, undated
Berkowitz, Harry: 1954
Bonnett, Clarence E.: 1937
Bramer, Nan: 1952
Breines, Simon: 1947, 1971
Bromsen, Archibald: 1940 (labor lawyer)
Brook, Alex: 1939
Buck, Pearl: 1953
Caswell, Edward: 1960
Chiostergi, Alessandro L.: 1937
Citizen's Committee for Constitutional Liberties: 1962 (Miriam Friedlander)
Granich, Mike (a.k.a. Mike Gold, born Irving Granich): 1956
Greenbaum, Dorothea: 1940 (Sculptor's Guild)
Gropper, William: 1951
Gwathmey, Robert: 1959, undated
Hall, Rob: 1952
Hardy, Lewis: 1955
Harris, Marguerite Tjader: 1942
Hars, Laszlo: 1953, 1955
Hartley, Paul: 1944 (National Art Foundation)
Hecht, Rosa: 1955
Henri Barbusse Memorial Committee: 1937
Hollander, Edward D.: 1956
International Bureau of Revolutionary Artists: 1935-1936 (Alfred Durus, a.k.a. Alfred Kemeny)
Joint Committee to Defend WPA Workers: 1941, 1942 (Ronald Shilen)
Jones, Alec: 1955, 1958
Kantor, Sam: 1953
Karolyi, Michael, Count: 1941, 1946
Kauffer, Edward McKnight: 1945
Kent, Rockwell: 1937, 1944, 1952-1953 (See also Series 4)
Klonsky, Bob: 1955
Koerner, Dan: 1942
Kohn, Robert D.: 1935 (architect)
Kovalski, Stanislaw: 1955 (Polish embassy)
Ksnyik, Andras: 1978
Laffitte, Jean: 1955
Lie, Jonas: 1939
Lorber, Dr. Herman "Harry": circa 1930s
Mabry, Thomas D.: 1942 (Graphics Div, Office of War Information)
Macagy, Jermayne: 1955
Magyar Jövo -- (Hungarian Daily Journal): 1952 (Alex Rosner), 1953
Mainstream -- : 1962
Maldonado, R.: 1978 (Smithsonian Labor History Project)
Manship, Paul: 1939, undated
Marceau, Henri: 1946
Marquardt, Virginia: 1978
Maruki, Toshiko and Iri: 1960
Masses and Mainstream -- : 1952 (Samuel Sillen), 1954 (Joe)
McNeil, Alan D: 1955
Michelson, Herman: 1934
Milner, Lucile: 1935
Moore, Sam: 1953
Nagy, Janos: 1956
National Association of Women Painters and Sculptors: 1940 (Bianca Todd)
National Council of American Soviet Friendship: 1943 (Hannah Dorner)
National Council of the Arts, Sciences, and Professions: 1952 (Nan Bramer)
National Maritime Union: 1944 (Louis Oguss, M. Hedley Stone)
New Masses -- : 1934 (Sean, Herman Michelson)
New World Review -- : 1952 (Jessica Smith)
New York Committee for the Protection of the Foreign Born: 1955 (Alec Jones)
Nuno, B.: 1943
Oguss, Louis: 1944
Oldham, John and Ray: circa 1930s
Ottley, Roi: 1943 (National CIO Committee)
Patrás, Pal: 1955
Patterson, William L.: 1953-1954
People's World -- : 1956 (W.J. Decker)
Perlo, Ellen: 1984
Perrot, Paul: 1960 (Corning Museum)
Philadelphia Forum of Social Sciences: 1955 (Bob Klonsky)
Popper, Lilly: 1953-1954
Prentis, Albert: 1937
Provisional Workers and People's Committee for May Day: 1955 (Morris Gainer), 1960 (Max Rosen)
Putnam and Sons: 1935 (Quintin Rossi)
Reed, Alman: 1955
Reisman, Philip: 1962, circa 1960s
Rickey, George: 1937
Rosen, Max: 1955
Rosner, A.: 1952, 1959
Rosner, Deak: 1955
Rossen, John: 1955
Rossi, Quintin: 1935
Royce, Edward: 1955
Sandburg, Carl: 1942
Sapiro, Aaron: 1932
Schappes Defense Committee: 1941 (Morris U. Shappes)
Schoen, Eugene: 1932, 1934
Schwartz, Morris: 1951
Selsam: 1951
Sequenzia, Sofia: 1983
Shields, T.A. "Art": 1959
Shillen, Ronald: 1942
Siegelbaum, Portia: 1978
Sillen, Samuel: 1952
Smith, Jessica: 1952
Soglow, Otto: 1942
Solomon: Dave: 1954 (New Talents Gallery), 1956
Starobin, Joseph: 1955
Steffens, Lincoln: 1934 (journalist)
Stone, M. Hedley: 1944
Street, Julian Jr.: 1940
Tandy, W. Lou: 1953
Time -- : 192-
Todd, Bianca: 1940 (See also Series 4)
Tresca, Carlo: circa 1930s (anarchist)
Turner, Jeannette S.: 1957-1960
Tyler, Hugh: 1939 (WPA)
Vallon, Jose: 1934
Van Rensselaer, Sylvia: 1944 ("Portrait of America Competition" report)
Weber, Max: 1953 (See also Series 4)
Weyhe Gallery: 1947
Wilson, Steve: 1959 (Progressive Lithographers)
The Worker -- : 1952 (Rob Hall)
World Council of Peace: 1955 (Jean Laffitte)
World -- : 1925
Zigrosser, Carl: 1937
Zorach, Bill: 1942
Zundel, Eugenia: 1957, 1959
Zurier, Rebecca: 1984, circa 1980s
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
Photocard featuring the Sculptors Dinner of the Medallic Art Company in New York. On the reverse is a seating chart of the dinner with all people named. Included are Paul Manship, George E. Brown, Mahonri Young, Henri Weil, Arthur Lee, Julian Levi, Jonas Lie, and Adolph Weinman among others.
Biographical / Historical:
Medal sculpture and fabricating guild; New York, N.Y. Est. 1903 by French sculptor Henri Weil.
Publication, Distribution, Etc. (Imprint):
New York, N.Y. s.n. 1937, Apr. 9.
Provenance:
Transfered 2007 from Smithsonian American Art Museum.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Sculptors -- New York (State) -- New York Search this
Transcripts and handwritten drafts of interviews of 86 artists and architects associated with the National Academy of Design, conducted by Lockman. Also included are a few biographical sketches.
Interviewees include: Mrs. Edwin Austin Abbey, Wayman Adams, Robert I. Aiken, Ernest Albert, Alonzo R. Beal, Edward A. Bell, Edwin H. Blashfield, Roy H. Brown, George E. Browne, Arnold Brunner, Alexander S. Calder, Carleton T. Chapman, Benjamin West Clinedinst, Alphaeus Cole, Timothy Cole, Irving E. Couse, Robert B. Crane, Charles C. Curran, B. Franklin De Haven, William R. Derrick, Louis P. Dessar, Thomas W. Dewing, Frederick I. Dielman, Edward Dufner, John W. Dunsmore, Jared B. Flagg, John G. Flanagan, August R. Franzen, Daniel C. French, Sherry E. Fry, Edward Gay, Cass Gilbert, Walter Granville-Smith, Chester Harding, Childe Hassam, Charles W. Hawthorne, William H. Howe, Henry S. Hubbell, William H. Hyde, William S. Jewett, Francis C. Jones, Dora Wheeler Kieth, William Fair Kline, Jonas Lie, Louis Loeb, Will H. Low, Edward McCartan, Frederick MacMonnies, Herman A. MacNeil, Gari Melchers, Francis Luis Mora, H. Siddons Mowbray, Raymond P. R. Neilson, George G. Newell,Robert H. Nisbet,
Ivan G. Olinsky, Willard Dryden Paddock, Walter L. Palmer, Arthur Parton, William McGregor Paxton, Ernest C. Peixotto, Joseph Pennell, Edward H. Potthast, Henry Prellwitz, Wilhelm F. Ritschel, Henry Rittenberg, Frederick Roth, Carl Rungius, Emily Sartain, John Sartain, William Sartain, Henry B. Snell, Robert Spencer, Egerton Swartwout, Douglas Volk, Bessie & Robert Vonnoh, Horatio Walker, Harry Watrous, Adolph Weinman, Charles D. Weldon, William Whittemore, Irving Wiles, Frederick B. Williams, and Cullen Yates.
Biographical / Historical:
DeWitt Lockman was a portrait painter, New York, N.Y. He studied in Europe, 1891-1892 and 1901-1902; a pupil of James H. Beard, Nelson N. Bickford and William Sartain; and was president of the National Academy of Design and records secretary of the New York Historical Society.
Provenance:
Lent 1973 by the New York Historical Society.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Artists -- United States -- Interviews Search this
Architects -- United States -- Interviews Search this
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:
Adolf Dehn papers, 1912-1981. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
Interview of Peggy Bacon conducted 1973 May 8, by Paul Cummings, for the Archives of American Art, in Cape Porpoise, Maine. Bacon speaks of her family and educational background; summer art classes in Provincetown, Massachusetts and Woodstock, New York; the Art Students League; the Provincetown Players; working in black and white; her drawings, drypoints, etchings, and caricatures; her illustrated books including, "Off With Their Heards"; cats as subjects; and her husband Alexander Brook. She recalls George Bellows, Andrew Dasburg, Edith Gregor Halpert, Charles Webster Hawthorne, Jonas Lie, Kenneth Hayes Miller, and others.
Biographical / Historical:
Peggy Bacon (1895-1987) was a printmaker from Cape Porpoise, Maine.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 3 digital wav files. Duration is 3 hr., 9 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Printmakers -- New York (State) -- Woodstock Search this
Illustrators -- New York (State) -- Woodstock Search this
Caricaturists -- New York (State) -- Woodstock Search this
Authors -- New York (State) -- Woodstock Search this
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Richard York Gallery records, circa 1865-2005, bulk 1981-2004. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by Smithsonian Institution's Collections Care Fund
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
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:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Grant Program. Digitization of the scrapbooks was supported by a grant from the Smithsonian Institution Women's Committee. Correspondence, financial and shipping records, inventory records, and printed material were digitized with funding provided by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the Terra Foundation for American Art and The Walton Family Foundation.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
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:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Grant Program. Digitization of the scrapbooks was supported by a grant from the Smithsonian Institution Women's Committee. Correspondence, financial and shipping records, inventory records, and printed material were digitized with funding provided by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the Terra Foundation for American Art and The Walton Family Foundation.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
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:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Grant Program. Digitization of the scrapbooks was supported by a grant from the Smithsonian Institution Women's Committee. Correspondence, financial and shipping records, inventory records, and printed material were digitized with funding provided by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the Terra Foundation for American Art and The Walton Family Foundation.
includes photos of Lie, family and friends, 8/30/26
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
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:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Grant Program. Digitization of the scrapbooks was supported by a grant from the Smithsonian Institution Women's Committee. Correspondence, financial and shipping records, inventory records, and printed material were digitized with funding provided by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the Terra Foundation for American Art and The Walton Family Foundation.
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:
Frank K. M. Rehn Galleries records, 1858-1969 (bulk 1919-1968). Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of the microfilm of this collection was provided by the Terra Foundation for American Art
Bulliet, C. J. (Clarence Joseph), 1883-1952 Search this
Container:
Box 15, Folder 141
Type:
Archival materials
Date:
circa 1888-1959
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
The C. J. Bulliet papers, circa 1888-1959. Archives of American Art, Smithsonian Institution.
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:
Raymond and Margaret Horowitz papers, 1903-2007, bulk 1960-2007. Archives of American Art, Smithsonian Institution.
