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C. J. (Clarence Joseph) Bulliet papers

Creator:
Bulliet, C.J. (Clarence Joseph), 1883-1952  Search this
Names:
Bulliet, Katherine Adams  Search this
Chapin, James, 1887-1975  Search this
Mantell, Robert B. (Robert Bruce), 1854-1928  Search this
Sheets, Millard, 1907-1989  Search this
Extent:
34.6 Linear feet
Type:
Collection descriptions
Archival materials
Prints
Sketchbooks
Photographs
Drawings
Place:
United States -- Social life and customs
Date:
circa 1888-1959
Summary:
The C. J. (Clarence Joseph) Bulliet papers measure 34.6 linear feet and are dated circa 1888-1959. Biographical materials, correspondence, writings, subject and artist files, printed material, photographs, and artwork document the career of the influential Chicago art critic and writer. The records contain extensive information about art and artists in Chicago and the Midwest from the early to mid-twentieth century.
Scope and Content Note:
The C. J. Bulliet papers measure 34.6 linear feet and are dated circa 1888-1959. Biographical materials, correspondence, writings, subject and artist files, printed material, photographs, and artwork document the career of the influential Chicago art critic and writer. The records contain extensive information about art and artists in Chicago and the Midwest from the early to mid-twentieth century.

Biographical materials, circa 1888-1952, about C. J. Bulliet and his artist wife, Katherine Adams Bulliet, include Adams family genealogy, biographical notes, inventory and notes about Bulliet's art collection, miscellaneous items, and photographs. Photographs include portraits of C. J. Bulliet as a young child, and photographs around the time of his graduation from Indiana University. Other photographs are group shots of Bulliet with Mrs. Bulliet, Millard Sheets, Mr. and Mrs. Peyton Boswell, Jr., James Chapin, the Chicago Daily News staff, and other Chicago art critics.

Correspondence, 1901-1942, documents Bulliet's professional and personal life. Professional correspondence provides a good overview of the art scene, activities, and attitudes in Chicago during the 1930s and 1940s. Many letters from newspaper readers contain both positive and negative reactions to his columns. Personal correspondence consists mainly of letters Bulliet wrote to his wife while on the road with Robert Mantell and his Shakespeare company. Other personal correspondence is with friends and relatives, and includes some letters addressed to Katherine Adams Bulliet.

Writings, 1929-1951, consist of notes, drafts, and final manuscripts of published and unpublished articles and essays, books, fiction and poems, lectures, and reviews by C. J. Bulliet. A small number of manuscripts are by other authors.

Artist files, 1919-1952, document a wide variety of artists from the Renaissance through the mid-twentieth century. Artists represented are American, European, and Asian; of particular interest are files relating to Chicago area artists, both well known and obscure. They consist largely of photographs of works of art and a small number of photographs of artists. A small percentage includes correspondence, notes and drafts of texts by Bulliet, printed material, and a few original prints.

Subject files, 1909-1952, concern topics that interested Bulliet. They consist mainly of photographs and printed material, with a small amount of correspondence.

Printed material, 1909-1959, by Bulliet consists of newspaper articles and columns, books, and reviews of art, books, and music. Items produced by others include books, clippings, museum and art school publications, periodicals, and press releases. Exhibition related items, consisting of announcements, invitations, catalogs, checklists, and prospectuses, are categorized by venues - Chicago and elsewhere.

Art work, 1916-1948, mainly by Chicago area artists, consists of prints, drawings, and a sketchbook, most likely given to Bulliet by the artists themselves.
Arrangement:
Series 2: Correspondence, Series 4: Artist Files, Series 5: Subject Files, and Series 7: Artwork are arranged alphabetically. Other series, organized by record type, are arranged chronologically within each category, as noted in the series descriptions/container listing below.

The collection is arranged into 7 series:

Series 1: Biographical Materials, circa 1888-1952 (Box 1; 6 folders)

Series 2: Correspondence, 1901-1952 (Boxes 1-2; 2 linear ft.)

Series 3: Writings, 1929-1951 (Boxes 3-4; 2 linear ft.)

Series 4: Artist Files, 1919-1952 (Boxes 5-24; 20 linear ft.)

Series 5: Subject Files, 1909-1952 (Boxes 25-27, 37; 2.3 linear ft.)

Series 6: Printed Material, 1909-1959 (Boxes 27-34, 36-37; 7.7 linear ft.)

Series 7: Artwork, 1916-1948 (Boxes 35, 38, OV 39; 0.6 linear ft.)
Biographical Note:
Known for his support of modernism, C. J. Bulliet spent the majority of his long newspaper career in Chicago. Born Clarence Joseph Bulleit in Corydon, Indiana, he studied English, astronomy, and mathematics at Indiana University. After graduating in 1905, he became a member of the Indiana University Total Eclipse Expedition to Spain in its search for a planet within Mercury's orbit. During World War I the spelling to Bulliet was changed to avoid any connection with Germany.

Upon returning to the United States, Bulliet began his newspaper career as a reporter for the Louisville Herald, soon moved to the Indianapolis Star as a police reporter, and eventually was named its drama critic. Between 1912 and 1921, he traveled extensively throughout the country as a press agent for Shakespearean actor Robert B. Mantell. During this period, he published his first book, a biography titled Robert Mantell's Romance. World War I interrupted Mantell's tour for two years, during which time Bulliet was press representative for D. W. Griffith's Birth of a Nation. He returned to the Louisville Herald for two years before moving to Chicago.

In 1923, the Chicago Evening Post established "The Art World Magazine," a weekly tabloid section reporting local, national, and international art news. C.J. Bulliet became the magazine's first (and only) editor. In addition, he served as the paper's drama critic. When the Chicago Evening Post was sold in 1932, becoming the Chicago Daily News, Bulliet was appointed its art critic. Although Bulliet was an experienced reporter, writer, and editor with a broad general knowledge of theater and drama, he had virtually no background in art or art history. An avid reader, he was determined to learn as much as he could, and managed to make himself an expert in a relatively short time. From 1924 until his death in 1952, C. J. Bulliet was the most important art critic in Chicago. His strong support of modernism and the gossipy, entertaining style of his columns made him a popular and controversial figure with great local influence on public opinion, exhibitions, and patronage. In addition to his work on the Chicago newspapers, C. J. Bulliet contributed articles to Art Digest, the New York Times, and other national publications.

Once established as an art editor and critic, C. J. Bulliet began writing extensively on art, and published many books on the subject for general readers. The first, Apples and Madonnas: Emotional Expression in Modern Art (1927), was extremely well-received and remained in print through many editions. Other titles include: Tour of the Exhibition of the Works of Alexander Archipenko (1927), The Courtezan Olympia: An Intimate Survey of Artists and their Mistress-Models (1930), Art Masterpieces: In a Century of Progress Fine Art Exhibition at the Art Institute of Chicago (1933), Paintings, An Introduction to Art (1934); The Significant Moderns and Their Pictures (1936), Masterpieces of Italian Art (1939), French Art from David to Matisse: As Set Forth in 20 Masterpieces of the French Exhibit at the Art Institute of Chicago (1941), Art Treasures from Vienna (1949), and The Story of Lent in Art (1951). He published books on other subjects, as well. In addition to his 1918 biography of Robert B. Mantell, they are: Venus Castina: Famous Female Impersonators, Celestial and Human (1933) and How Grand Opera Came to Chicago (1940-1941).
Provenance:
The papers were donated to the Archives in 1984 by C. J. Bulliet's son, Lender J. Bulliet. Additional records were given by Rockford College, Rockford, Illinois, in 1987.
Restrictions:
Use of original papers requires an appointment.
Rights:
The C. J. Bulliet papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art critics -- Illinois -- Chicago  Search this
Artists -- Illinois -- Chicago  Search this
Modernism (Art)  Search this
Art criticism -- Illinois -- Chicago  Search this
Art, Modern -- 20th century -- Illinois -- Chicago  Search this
Genre/Form:
Prints
Sketchbooks
Photographs
Drawings
Citation:
The C. J. Bulliet papers, circa 1888-1959. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bullclar
See more items in:
C. J. (Clarence Joseph) Bulliet papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bullclar
Online Media:

Hassam, Childe

Collection Creator:
Bulliet, C.J. (Clarence Joseph), 1883-1952  Search this
Container:
Box 13, Folder 4
Type:
Archival materials
Date:
circa 1888-1959
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The C. J. Bulliet papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
The C. J. Bulliet papers, circa 1888-1959. Archives of American Art, Smithsonian Institution.
See more items in:
C. J. (Clarence Joseph) Bulliet papers
C. J. (Clarence Joseph) Bulliet papers / Series 4: Artist Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bullclar-ref1441

Nancy Douglas Bowditch

Collection Creator:
Bowditch, Nancy Douglas  Search this
Container:
Box 5, Folder 26
Type:
Archival materials
Date:
circa 1898-1905
Scope and Contents note:
Nancy Douglas Bowditch as a Child
Collection Restrictions:
Use of originals requires an appointment.
Collection Rights:
The Nancy Douglas Bowditch and Brush family papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Nancy Douglas Bowditch and Brush family papers, circa 1860-1985. Archives of American Art, Smithsonian Institution.
See more items in:
Nancy Douglas Bowditch and Brush family papers
Nancy Douglas Bowditch and Brush family papers / Series 9: Photographs / Portraits
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bowdnanc-ref349

Nancy Douglas Bowditch

Collection Creator:
Bowditch, Nancy Douglas  Search this
Container:
Box 5, Folder 28
Type:
Archival materials
Date:
circa 1920s
Scope and Contents note:
Nancy with a child, probably Polly Peamrain
Collection Restrictions:
Use of originals requires an appointment.
Collection Rights:
The Nancy Douglas Bowditch and Brush family papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Nancy Douglas Bowditch and Brush family papers, circa 1860-1985. Archives of American Art, Smithsonian Institution.
See more items in:
Nancy Douglas Bowditch and Brush family papers
Nancy Douglas Bowditch and Brush family papers / Series 9: Photographs / Portraits
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bowdnanc-ref353

Nancy Douglas Bowditch (?) as a Young Child

Collection Creator:
Bowditch, Nancy Douglas  Search this
Container:
Box 5, Folder 55
Type:
Archival materials
Date:
circa 1890
Collection Restrictions:
Use of originals requires an appointment.
Collection Rights:
The Nancy Douglas Bowditch and Brush family papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Nancy Douglas Bowditch and Brush family papers, circa 1860-1985. Archives of American Art, Smithsonian Institution.
See more items in:
Nancy Douglas Bowditch and Brush family papers
Nancy Douglas Bowditch and Brush family papers / Series 9: Photographs / Snapshots
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bowdnanc-ref391

Josef Albers papers

Creator:
Albers, Josef  Search this
Names:
Baltimore Museum of Art  Search this
Maryland Institute, College of Art  Search this
Albers, Anni  Search this
Arp, Jean, 1887-1966  Search this
Leake, Eugene, 1911-  Search this
Tyler, Kenneth E.  Search this
Extent:
1.5 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sound recordings
Transcripts
Poems
Interviews
Date:
1929-1970
Summary:
The papers of painter, printmaker, and art teacher Josef Albers date from 1929 to 1970 and measure 1.5 linear feet. Found within the papers are biographical materials, writings, a recorded lecture, and photographs. The bulk of the collection consists of printed materials.
Scope and Contents:
The papers of painter, printmaker, and art teacher Josef Albers date from 1929 to 1970 and measure 1.5 linear feet. Found within the papers are biographical materials, writings, a recorded lecture, and photographs. The bulk of the collection consists of printed materials.

Biographical material consists of a curriculum vitae, bibliographic lists, a transcript of a "Yale Reports" radio interview in which Albers discusses art as a port of general education, and a photocopy of a letter from Eugene W. Leake of the Maryland Institute discussing a work by Albers in the Baltimore Museum.

Writings and Lectures are primarily photocopies of poems and typescripts by Albers concerning his theories on art, as well as an sound tape reel recording of Albers delivering a lecture at Yale University. There are also photocopied typescripts about Albers written by others including a typescript "Josef Albers" by Hans Jean Arp.

Printed material primarily consists of clippings and exhibition announcements and catalogs, some of which are annotated by Albers. There are also two exhibition catalogs for Anni Albers, press releases, a copy of poetry publication Origin 8, 2 books by Albers, Embossed Linear Compositions and Josef Albers: Poems and Drawings, the book American Abstract Artists, 1936-1966, and miscellaneous brochures.

Photographs consist of two copies of the same image of Josef Albers pin registering one of his prints with Tamarind artisan Ken Tyler.
Arrangement:
The collection is arranged as 4 series.

Series 1: Biographical Material, 1957-1970 (3 folders; Box 1)

Series 2: Writings and Lecture, 1936-1967 (5 folders; Box 1)

Series 3: Printed Material, 1929-1969 (1.3 linear feet; Boxes 1-3)

Series 4: Photographs, circa 1968 (1 folder; Box 2)
Biographical / Historical:
Josef Albers (1888-1976) of Dessau, Germany, Black Mountain, North Carolina, and New Haven, Connecticut, was a painter, printmaker, and art teacher advocating a disciplined approach to composition, form, and color.

Josef Albers was born on March 19, 1888 in Bottrop, Westphalia, Germany, the only child of Lorenz Albers, a housepainter, and Magdelena (Schumacher) Albers. He attended the Präparanden-Schule in Langenhorst from 1902 to 1905 and then the teachers college in Büren, graduating in 1908. He became an instructor in several Westphalian primary schools.

Albers studied at the Royal Art School in Berlin, the Arts and Crafts School (Folkwang School) in Essen, and at the Art Academy in Munich under Franz Stuck before enrolling at the Bauhaus in Weimar in 1920. In 1923, he became an instructor and in 1925, when the school was transplanted to Dessau, he became a Bauhausmeister, teaching his fundamental design course. He remained in that position in Dessau and Berlin until 1933, when under pressure from National Socialism, the school was shut down. In that year, Albers emigrated to the United States, becoming a professor of painting at Black Mountain College in North Carolina.

In 1949, Albers moved to Yale University where he taught in the Department of Design and served as Chairman of the Art Department. Following his retirement in 1960, Albers continued to live in New Haven with his wife, textile artist Anni Albers.

Albers served as a guest teacher in Ulm, Germany, and in many colleges and art schools in the United States, Mexico, and South America. He was also an author of poems and books concerning art theory.

Josef Albers died on March 25, 1976 in New Haven, Connecticut.
Related Materials:
Also found in the Archives is an oral history interview with Albers conducted by Sevim Fesci in 1968, and a collection of letters from Albers to J. B. Naumann that was loaned to the Archives by the Brooklyn Museum for microfilming and is available on microfilm reel 911.
Provenance:
The Josef Albers papers were donated by the artist in 1969 and 1970. A small collection of additional Albers papers and an audio recording of a lecture with an unknown provenance were integrated.
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 Josef Albers papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- Study and teaching  Search this
Art teachers  Search this
Art -- Philosophy  Search this
Painters  Search this
Printmakers  Search this
Genre/Form:
Photographs
Sound recordings
Transcripts
Poems
Interviews
Citation:
Josef Albers papers, 1929-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.albejose
See more items in:
Josef Albers papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-albejose
Online Media:

Carnegie Institute, Museum of Art records

Creator:
Carnegie Institute, Museum of Art  Search this
Names:
Art Institute of Chicago  Search this
Buffalo Fine Arts Academy  Search this
Corcoran Gallery of Art  Search this
Gallery of William Macbeth  Search this
M. Knoedler and Co.  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Alexander, John White, 1856-1915  Search this
Beatty, John W. (John Wesley), 1851-1924  Search this
Beaux, Cecilia, 1855-1942  Search this
Brush, George de Forest, 1855-1941  Search this
Chase, William Merritt, 1849-1916  Search this
Church, Samuel Harden  Search this
East, Alfred, Sir, 1849-1913  Search this
Hassam, Childe, 1859-1935  Search this
Homer, Winslow, 1836-1910  Search this
Saint-Gaudens, Homer, b. 1880  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Extent:
265.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Letterpress books
Museum records
Place:
Spain -- history -- Civil War, 1936-1939
Date:
1883-1962
bulk 1885-1962
Summary:
The records of the Carnegie Institute, Museum of Art measure 265.8 linear feet and date from 1883-1962, with the bulk of the material dating from 1885-1940. The collection includes extensive correspondence between the museum's founding director, John Beatty, and his successor, Homer Saint-Gaudens, with artists, dealers, galleries, collectors, museum directors, representatives abroad, shipping and insurance agents, and museum trustees. The collection also includes Department of Fine Arts interoffice memoranda and reports; loan exhibition files; Carnegie International planning, jury, shipping, and sale records; Department of Fine Arts letterpress copy books, and a copy of the original card catalog index to these records.
Scope and Contents:
The records of the Carnegie Institute, Museum of Art measure 265.8 linear feet and date from 1883-1962, with the bulk of the material dating from 1885-1940. The collection includes extensive correspondence between the museum's founding director, John Beatty, and his successor, Homer Saint-Gaudens, with artists, dealers, galleries, collectors, museum directors, representatives abroad, shipping and insurance agents, and museum trustees. The collection also includes Department of Fine Arts interoffice memoranda and reports; loan exhibition files; Carnegie International planning, jury, shipping, and sale records; Department of Fine Arts letterpress copy books, and a copy of the original card catalog index to these records.

This collection is a complete record of the museum's work, starting with the planning of the first loan exhibition in 1885 and ending with the cancellation of the International at the start of World War II in 1940. The museum's day-to-day relationships with all aspects of the contemporary art world are documented within the historical context of artists' reactions to World War I; the economic repercussions of the Great Depression on art sales and museum budgets; the ramifications of fascism on German, Italian, and European art; the impact of civil war on Spanish art; and the tensions introduced by the rise of 'radical' modernist art in Europe.

Correspondence (Series 1) is the largest series in the collection (152.5 linear feet) and is comprised of extensive correspondence between the Museum of Art and over 8700 correspondents, with over 3600 correspondents specifically related to art and artists.

Correspondents related to the art world include museum staff, artists, collectors, museums, galleries, dealers, shippers, insurance agencies, art directors, associations, societies, clubs, critics, press, and governments. These exchanges include general requests for information; requests related to the museum's exhibitions, including the International; letters regarding the museum's involvement in the events of other art organizations; loan, sales, and provenance information for specific works of art; and information regarding the events of other art organizations.

The correspondence of the museum's staff provides the greatest insight into understanding the museum's evolution into an international cultural institution. Both directors' correspondence touch on their personal opinions on art, their rationale behind policy decisions, and their understanding of the extent to which the museum's work was dependent on the good relations they maintained in the art world. Additionally, the extensive, opinionated correspondence between Saint-Gaudens' European agents and museum staff during the 1920s and 1930s provide a unique perspective on emerging art trends and the skill, growth, and personalities of individual artists.

The most prolific of the museum staff correspondents include museum directors John Beatty and Homer Saint-Gaudens, Board of Trustees president Samuel Harden Church, assistant director Edward Balken, and European agents Guillaume Lerolle , Ilario Neri, Arnold Palmer, Margaret Palmer, and Charlotte Weidler. Additional prominent staff members include Helen Beatty, Robert Harshe, Caroline Lapsley, Henry Jack Nash, John O'Connor, Charles Ramsey, George Shaw, George Sheers, August Zeller, and Fine Arts Committee members John Caldwell, William Frew, William Hyett, and John Porter.

The most prolific artist correspondents include John White Alexander, George Grey Barnard, Cecilia Beaux, Frank Benson, George de Forest Brush, William Merritt Chase, William Coffin, Bruce Crane, Andre Dauchez, Charles H. Davis, Alfred East, Ben Foster, Daniel Garber, Charles P. Gruppe, John Johansen, Johanna Hailman, John McLure Hamilton, Birge Harrison, Childe Hassam, Winslow Homer, Laura Knight, John la Farge, Gaston la Touche, John Lavery, Henri le Sidaner, Jonas Lie, Hermon A. MacNeil, Antonio Mancini, Gari Melchers, Emile Menard, Henry R. Poore, Edward Redfield, W. Elmer Schofield, Leopold Seyffert, Lucien Simon, Eugene Speicher, Abbott Handerson Thayer, Robert Vonnoh, J. Alden Weir, Irving R. Wiles, and Ignacio Zuloaga. Other artists of note include: Edwin Austen Abbey, George Bellows, Edwin Blashfield, Frank Brangwyn, Mary Cassatt, Kenyon Cox, Thomas Wilmer Dewing, Thomas Eakins, William Glackens, Robert Henri, Eastman Johnson, Rockwell Kent, Paul Manship, Henry Ranger, John Singer Sargent, Edward Steichen, Alfred Stieglitz, Edmund Tarbell, James McNeil Whistler, N.C. Wyeth, and Charles Morris Young.

Frequent museum collaborators include the Art Institute of Chicago, Boston Museum of Fine Arts, Brooklyn Museum, Buffalo Fine Arts Academy, Cleveland Museum of Art, Corcoran Gallery of Art, Detroit Institute of Art, Metropolitan Museum of Art, Museum of Modern Art, Saint Louis Museum of Fine Arts, Toledo Museum of Art, and Worcester Art Museum.

Other prolific correspondents include collectors Chauncey Blair, Andrew Carnegie, Charles Lang Freer, George Hearn, Alexander Humphreys, Roy Hunt, Mrs. B.F. Jones, Burton Mansfield, Frank Nicola, Duncan Phillips, John Stevenson, and William Stimmel; dealers and galleries M. Knoedler, William Macbeth, Central Art Gallery, Charles A. Walker, C.W. Kraushaar Art Galleries, Downtown Gallery, Durand-Ruel and Sons, Ehrich Galleries, Ferargil Galleries, Frank Rehn, Frederick Keppel, Haseltine Art Gallery, R.C. Vose Galleries, and W. Scott Thurber Fine Arts; insurance agent Macomber Co.; and shippers Dicksee and Co., J.W. Hampton, P. Navel/R. Lerondelle, Stedman and Wilder, and W.S. Budworth and Son.

Correspondents not specifically related to the contemporary art world include businesses, educational institutions, libraries, and the general public. These exchanges detail the daily work of the museum, including the estimates and work orders of office suppliers, contractors, printers, and etc.; programming and research inquiries of k-12 and college/university institutions; acknowledgements of the receipt of Museum of Art publications; and general public inquiries regarding museum policies, exhibitions, and the permanent collection. Companies and institutions who worked particularly closely with the museum include Alden and Harlow (architects), Detroit Publishing Co., and Tiffany and Co.

Department of Fine Arts (Series 2) consists of art and artist lists, correspondence, memoranda, notes, and reports. These files were begun under John Beatty's tenure and streamlined under Homer Saint-Gaudens' directorship to track activities directly related to the museum's interoffice affairs. File headings continued under Saint-Gaudens focus on art considered and purchased for the permanent collection, employee records, exhibition proposals and loans, Fine Arts Committee minutes, museum programming, museum publications, press releases, requests for images, and requests for general information.

Under Saint-Gaudens, the Fine Arts Committee files contain voluminous impressions of contemporary European artists, which he composed during his annual studio tours of the continent in the early 1920s and late 1930s. These informal reports provide insight into the shaping of the International and include a running commentary on historical events of the time. The Fine Arts Committee files also document the artistic and budgetary compromises that were struck, particularly during the Great Depression and early run-up to World War II.

Exhibitions (Series 3) includes correspondence with collectors, museums, galleries, dealers, shippers, and many of the artists themselves. Additional documents include catalogs, lists, planning notes, and telegrams related to 185 traveling and loan exhibitions held at the Museum of Art from 1901 to 1940. Of these, over 100 are one-artist shows and 82 are group, survey, regional, or topical shows. The one-artist exhibitions tend to showcase contemporary artists of the time. Regional shows focused on American and European art, with two shows featuring the art of Canada and Mexico. Survey themes focused on animals, children, cities, gardens, landscapes, Old Masters, and portraitures. Many of the genre shows venture into art not typically collected by the Museum of Art, including architecture, crafts, engravings, figure studies, graphic arts, illustrations, miniatures, mural decorations, oriental rugs, prints, printed books, sculpture, small reliefs, stained glass, theater models, watercolors, and wood engravings.

The most important shows organized and curated by Museum of Art staff include the Panama-Pacific International Exposition (1915), American Sculpture Show (1915, 1920), Applied Arts Show (1917), Original Illustrations Show (1921), Mexican Art Show (1929), Garden Club Show (1922), Industrial Art Show (1924), Pittsburgh Artists Show (1935), French Survey Show (1936), English Painting Survey Show (1937), American Paintings, Royal Academy Show (1938), and Survey of American Painting Show (1940).

Important one-artist shows include Abbot Handerson Thayer (1919), George de Forest Brush (1922), Frank W. Benson (1923), Rockwell Kent (1923, 1939), Anders Zorn (1924), John Lavery (1925), Paul Manship (1925), Mary Cassatt (1925), Laura Knight (1925), Edouard Manet (1932), Edward Hopper (1936), Winslow Homer (1922, 1936), Paul Cezanne (1936), Charles Burchfield (1937), and William Glackens (1938).

International (Series 4) is comprised of catalogs, correspondence, art and artist lists, itineraries, jury selection ballots, minutes, notes, and reports related to the planning, logistics, and promotion of the International Exhibition from 1895 to 1940. These documents were originally grouped and filed separately under John Beatty and were more rigorously streamlined under Homer Saint-Gaudens. The folder headings continued under Saint-Gaudens focus on art purchases, artists' invitations, artists' request for information, general exhibition planning, Foreign Advisory Committees, foreign governments, jury reception planning, loan requests, and touring logistics.

Letterpress books (Series 5) consist of 75 volumes that chronologically collect all of the Museum of Art's outgoing correspondence from 1896 to 1917. Volumes 1-8 contain the only copy of outgoing correspondence from 1896 to 1900. Duplicate copies of all outgoing correspondence dating from 1901 to 1917 were filed in Correspondence (Series 1) by museum staff.

Card catalogs (Series 6) also include three sets of catalogs created by the Museum of Art to track the outgoing and incoming correspondence contained in this collection. Set 1 (1895-1906) consists of the original cards. Set 2 (1907-1917) and Set 3 (1918-1940) consists of photocopies of the original cards that were merged together into one contiguous set.
Arrangement:
The collection is arranged into six series:

Series 1: Correspondence, 1883-1962, (Boxes 1-153, OV 267; 152.5 linear feet)

Series 2: Department of Fine Arts, 1896-1940, (Boxes 153-184, OV 268; 31.6 linear feet)

Series 3: Exhibitions, 1901-1940, (Boxes 184-204; 20 linear feet)

Series 4: International, 1895-1940, (Boxes 204-234, 265-266; 30.2 linear feet)

Series 5: Letterpress Books, 1900-1917, (Boxes 235-251; 17 linear feet)

Series 6: Card Catalogs, 1895-1940, (Box 252-264; 11 linear feet)
Biographical / Historical:
The Carnegie Institute Museum of Art was established in 1895 by industrialist and philanthropist Andrew Carnegie. One of the first modern contemporary art museums in the United States, its flagship exhibition, the Carnegie International, is recognized as the longest running contemporary exhibition of international art in North America and is the second oldest in the world.

Andrew Carnegie (1835-1919) was born in Dumfermline, Scotland and migrated to America with his family in 1848. Often regarded as the second-richest man in history behind John D. Rockerfeller, Carnegie built his industrialist fortunes in the steel industry and spent the remainder of his life in support of major philanthropic projects. By the age of 33, he had developed his personal philosophy of philanthropy, which saw it as the responsibility of the wealthy to foster educational opportunities and disseminate the ideals of high culture among all levels of society. In addition to establishing over 2500 free public libraries, in 1895, he provided the funds to build the Carnegie Institute, located in the Oakland neighborhood of Pittsburgh, Pennsylvania. The Carnegie Institute originally maintained three separate departments under the auspices of the Carnegie Library of Pittsburgh, the Carnegie Museum of Natural History, and the Carnegie Museum of Art.

The Carnegie Institute was administered by a Board of Trustees selected by Carnegie, all prominent professional men of Pittsburgh. Within this group, eight men were selected to serve on the Museum of Art's Fine Arts Committee, which was initially granted the final say on gallery affairs. The first Fine Arts Committee was composed of two artists, Alfred Bryan Wall and Joseph Ryan Woodwell, and six businessmen. Among the latter group, John Caldwell, Henry Clay Frick, William Nimick Frew, and David Thompson Watson were also knowledgeable art patrons and collectors. Over time, the Fine Arts Committee's sway over gallery affairs would be measured by the dedication of its various members and tempered by the vision and authority of the Museum's directors, John Beatty and Homer Saint-Gaudens, and the Carnegie Institute Board of Trustees president, Samuel Harden Church.

From 1896 to 1921, John Wesley Beatty (1851-1924) served as the first director of the Museum of Art. A native Pittsburgher and an accomplished silver engraver, illustrator, and painter, Beatty attended the Royal Bavarian Academy in Munich and upon his return to America, made a living as an artist. He also taught at the Pittsburgh School of Design for Women and co-founded a small school of art with fellow local artist George Hetzel. In 1890, while serving as the secretary of the Pittsburgh Art Society, he became the primary organizer of a loan exhibition to be displayed at the opening of the Carnegie Free Library in Allegheny, Pennsylvania. In 1895, when the Carnegie Institute trustees began discussing the possibility of a similar loan exhibition for the opening of their new institution, Beatty was contacted and eventually enlisted to take on the task. Upon the success of that exhibition, he was invited to direct the gallery's affairs and served as the Museum of Art's director until his retirement.

Beatty was an enthusiastic supporter of Impressionism, Realism, Tonalism, Symbolism, and the critically acclaimed contemporary art of the 1890s. He also shared Carnegie's vision for the Museum of Art and believed in the educational and uplifting role aesthetic beauty could provide to the general public. Pursuant to the stated goals of Andrew Carnegie, under Beatty's direction the museum began to purchase important contemporary works to add to its chronological collection of "Old Masters of tomorrow" and almost immediately began planning the first of its Internationals.

The Internationals were viewed as the primary means of showcasing the Museum of Art's selection of the best in contemporary American and European painting, thereby elevating its role as an influential cultural institution on a national and international level. Juried monetary prizes would be awarded to the two best works by American artists, additional awards would be offered to artists of all nationalities, and the Museum of Art's purchases for the year would be selected from the exhibition. Certain artists and collectors were tapped to serve as unofficial representatives of the Museum of Art at home and abroad, among them John White Alexander, William Coffin, I.M. Gaugengigl, Walter Shirlaw, and Edmund Tarbell. Many of the most prominent Pittsburgh art collectors were also asked to lend works to the exhibition. While details of the jury and artist selection process, number of representatives, exhibition show dates, and amount and total number of prizes would change over the years, the planning template was set and would remain the same for future Internationals.

Beatty continued to rely on a stable of close friends and confidantes to help smooth over relations with artists, dealers, shipping agents, and galleries alike, relying heavily on John White Alexander and W. Elmer Schofield, in addition to artists Thomas Shields Clarke, Walter Gay, Robert Henri, Frank D. Millet, and critic Charles M. Kurtz. Over time, many of the artists who served on International juries or Foreign Advisory Committees also became reliable friends and advocates of the International, including Edwin Austen Abbey, Edmond Aman-Jean, Edwin Howland Blashfield, William Merritt Chase, Charles Cottet, Kenyon Cox, Charles Harold Davis, Alfred East, Ben Foster, Charles Hopkinson, John la Farge, Gari Melchers, Leonard Ochtman, Irving R. Wiles, and Robert W. Vonnoh.

From 1896 to 1921, the Museum of Art held twenty-one Internationals, with the only exceptions coming in 1906 (construction of the Hall of Architecture, Hall of Sculpture, and Bruce Galleries), 1915 (deference to the San Francisco Panama-Pacific International), and 1916-1919 (World War I). During these years, the scope and administration of the International slowly expanded, though not without growing pains. At the turn of the century, new modernist styles of art that were appearing in galleries across Europe had not yet entered major American museums and the Carnegie Museum of Art maintained this trend. The museum's generally conservative selection policies, combined with criticism regarding the timing of the exhibition and the jury selection process, led to increasingly tense relations with artists, and were only partially resolved by changes made to the format of the International. In spite of these challenges, the Carnegie International retained its reputation as a preeminent venue for contemporary art and awarded top prizes to John White Alexander, Cecilia Beaux, George W. Bellows, Frank W. Benson, Andre Dauchez, Thomas Wilmer Dewing, Thomas Eakins, Childe Hassam, Winslow Homer, John Lavery, Henri le Sidaner, Edward W. Redfield, W. Elmer Schofield, Edmund C. Tarbell, Abbot Handerson Thayer, Dwight W. Tryon, and J. Alden Weir.

In addition to the International, Carnegie's mission of bringing cultural and educational opportunities to Pittsburgh was a central priority of the museum's daily operations. Beatty cultivated relationships with fellow museum directors, which allowed for the easy co-ordination and planning of traveling exhibitions benefiting the city. The museum developed educational programs for children and adults, including lectures, gallery talks, Saturday morning classes, fine art extension classes, guided tours, and outreach to local schools. As popular Pittsburgh art societies and clubs formed, the museum also provided meeting and exhibition spaces for groups such as the Associated Artists of Pittsburgh, the Art Society of Pittsburgh, the Art Students League, the Garden Club of Allegheny County, and the Junior League.

After more than 25 years of service, Beatty made the decision to retire and put out an informal call for candidates. Being the right man at the right time, in 1921, Homer Schiff Saint-Gaudens (1880-1958) became the Museum of Art's second director.

The only child of American sculptor Augustus Saint-Gaudens and his wife and artist, Augusta Fisher Homer, Saint-Gaudens frequently traveled abroad and grew up in the company of his parents' wide circle of friends, many of them artists, poets, writers, and performers who frequented the Cornish Artists' Colony. More intimate friends of the family included former students, assistants, and colleagues, the architect Stanford White, and successful artist-couples who resided near the family's Cornish, New Hampshire home, among them Louise and Kenyon Cox, Maria and Thomas Dewing, Florence and Everett Shinn, and Emma and Abbott Thayer.

Homer Saint-Gaudens attended the preparatory school Lawrenceville, graduated from Harvard in 1903, married the artist and suffragist Carlota Dolley (1884-1927) in 1905, and remarried to Mary Louise McBride (n.d.-1974) in 1929. He began his professional career as a journalist and worked as assistant editor of The Critic (1903) and managing editor of Metropolitan Magazine (1905). During those years, he was introduced to a number of the Ash Can school artists, wrote articles on contemporary art, and honed his abilities as a writer. In 1907, Saint-Gaudens took a break from professional editing and began a second career as the stage manager for Maude Adams, the most highly paid and successful stage actress of her day, with a yearly income of over one million dollars at the peak of her popularity. Working in theater and as Adams' manager for over ten years, Saint-Gaudens learned the ins and outs of event promotion and logistics, media coverage, and maintaining diplomatic relations through compromise, ideal skills he would later use in organizing the Carnegie Internationals.

With the United States' entry into World War I, Saint-Gaudens served as the chief of the U.S. Army's first camouflage unit and was awarded the Bronze Star. After his discharge, he managed Adams' 1918 final season and simultaneously helped his mother organize a major retrospective of his father's sculptures. While organizing a section of his father's work for the 1921 International, he was invited to step into the position of assistant director of the Carnegie Museum of Art, and was promoted to the directorship upon John Beatty's retirement.

Throughout his tenure, Saint-Gaudens was able to call upon long-standing family friendships with artists and art patrons to the museum's benefit. His connections to the art world can clearly be seen in his first major stand-alone exhibition, the Garden Club Show (1922). In this, he enlisted the aid of Elizabeth Alexander, wife of John White Alexander, and Johanna Hailman, artist and wife of John Hailman, who reached out to their circle of artists and art collecting friends in search of works appropriate for the show. Their efforts, combined with the relationships Beatty had established with museum directors, galleries, and dealers, as well as Saint-Gaudens' own friendships with Kenyon Cox, Thomas Dewing, Barry Faulkner, and Gari Melchers, resulted in an assemblage of 150 paintings of note. Coming immediately upon the heels of the 1922 International, the show was a resounding success. The exhibition's opening attracted over 300 delegates of the Garden Club of America and the entirety of Pittsburgh high society, settling any concerns regarding his leadership abilities.

As director of the Museum of Art, Saint-Gaudens instituted measures intended to streamline the Internationals and improve diplomatic relations with artists. Though the basic format of the juried exhibition remained the same, his solutions to the complaints many artists raised with the artist invitation, art selection, and jury systems reformed the International's reputation at a critical time. Though he was naturally inclined to appreciate the art and artists he had grown up with, Saint-Gaudens understood the immediate necessity of introducing modernist contemporary art into the museum's exhibitions and galleries. He circumvented the conservative Fine Arts Committee's resistance to the accolades of European modernists by choosing the tamest of the new 'radical' works. Eventually, he balanced the Internationals with a mix of conservative, moderate, and advanced works that appealed to a large range of audiences and increased the status and diversity of the Internationals.

To aid in his reformation of the International, Saint-Gaudens formalized a team of European agents who worked year round to scout artists' studios, recommend suitable art and artists, navigate local politics, arrange local transportation and logistics, and maintain cordial relations with artists abroad. In the spring, Saint-Gaudens would travel to Europe to meet with his agents in person, tour the most promising studios, and meet with artists personally. His team was headed by Guillaume Lerolle, who shared Saint-Gaudens' distinction of being the son of a well regarded national artist, Henry Lerolle. Like Saint-Gaudens, Lerolle was able and willing to call upon longstanding family friendships and networks on behalf of the Museum of Art. The other core members of the team were Ilario Neri (Italy), Arnold Palmer (England), Margaret Palmer (Spain), and Charlotte Weidler (Germany).

From 1922 to 1940, the Museum of Art held seventeen Internationals, with the exceptions coming in 1932 (Great Depression) and 1940 (World War II). After a brief period of change, growth, and experimentation in the early 1920s, the museum eventually settled on a routine of planning the Internationals, arranging for traveling exhibitions, and expanding upon the most popular of their educational programs. In addition to those programs put into place under Beatty's tenure, Saint-Gaudens paved the way for a revamped lecture series featuring visiting critics and traveled as a visiting lecturer himself.

During the 1930s, financial difficulties and increasing political tensions in Europe presented ample challenges to the diplomatic skills of Saint-Gaudens and his agents, and they found themselves increasingly forced to navigate through political minefields presented by the fascist ideologies of Germany and Italy, the chaos of the Spanish civil war, and the eventual outbreak of World War II in Europe. In spite of these challenges, under Saint-Gaudens' direction, the museum remained true to Andrew Carnegie's vision. The International was expanded to accept on average over sixty additional works of art, and at its peak, included art from twenty-one countries. Beginning in 1927, top prizes and recognition were awarded to Georges Braque, Marc Chagall, Salvador Dali, Andre Derain, Raoul Dufy, Karl Hofer, Rockwell Kent, Yasuo Kuniyoshi, Henri Matisse, Pablo Picasso, and Edouard Vuillard.

Works by Arthur B. Davies, Charles Hawthorne, Edward Hopper, Augustus John, Oskar Kokoschka, Leon Kroll, Ernest Lawson, and William Orpen were added to the museum's permanent collection. And, as under Beatty's tenure, many of the artists selected to serve on the Jury of Award became advocates and friends of the museum, including Emil Carlsen, Anto Carte, Bruce Crane, Charles C. Curran, Daniel Garber, Charles Hopkinson, Laura Knight, Jonas Lie, Julius Olsson, Leopold Seyffert, Lucien Simon, Eugene Speicher, Maurice Sterne, Gardner Symons, Horatio Walker, and Charles H. Woodbury.

The monumental task of establishing the Carnegie Institute Museum of Art and the Carnegie International has left an archival record that is unique and unparalleled in documenting its relations with every aspect of the contemporary art world from the turn of the century through the first forty years of the twentieth century.
Provenance:
The Carnegie Institute, Museum of Art records were loaned for microfilming in 1966 and later donated to the Archives of American Art in 1972. A small addition of corrrespondence was donated in 2017 by Elizabeth Tufts Brown.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Carnegie Institute Museum of Art records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- Economic aspects  Search this
World War, 1914-1918  Search this
Art museums -- Pennsylvania -- Pittsburgh  Search this
Depressions -- 1929  Search this
Art, Modern -- Exhibitions  Search this
Fascism  Search this
World War, 1939-1945  Search this
Museum directors  Search this
Genre/Form:
Photographs
Letterpress books
Museum records
Citation:
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.carninst
See more items in:
Carnegie Institute, Museum of Art records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-carninst
Online Media:

Hassam, Childe

Collection Creator:
Carnegie Institute, Museum of Art  Search this
Container:
Box 192, Folder 9
Type:
Archival materials
Date:
1910
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Carnegie Institute Museum of Art records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.
See more items in:
Carnegie Institute, Museum of Art records
Carnegie Institute, Museum of Art records / Series 3: Exhibitions
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-carninst-ref9503

S.D. Childs and Company

Collection Creator:
Carnegie Institute, Museum of Art  Search this
Container:
Box 120, Folder 118
Type:
Archival materials
Date:
1914
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Carnegie Institute Museum of Art records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.
See more items in:
Carnegie Institute, Museum of Art records
Carnegie Institute, Museum of Art records / Series 1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-carninst-ref7086

Omaha Society of Fine Arts (Childs, Lowrie)

Collection Creator:
Carnegie Institute, Museum of Art  Search this
Container:
Box 104, Folder 37
Type:
Archival materials
Date:
1923-1925
1915-1916
1911-1912
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Carnegie Institute Museum of Art records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.
See more items in:
Carnegie Institute, Museum of Art records
Carnegie Institute, Museum of Art records / Series 1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-carninst-ref6027

Hassam, Childe

Collection Creator:
Carnegie Institute, Museum of Art  Search this
Extent:
6 Folders
Container:
Box 59, Folder 40-45
Type:
Archival materials
Date:
1931
1934-1935
1895-1922
1928
1924
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Carnegie Institute Museum of Art records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.
See more items in:
Carnegie Institute, Museum of Art records
Carnegie Institute, Museum of Art records / Series 1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-carninst-ref3482

Child, Edwin B.

Collection Creator:
Carnegie Institute, Museum of Art  Search this
Container:
Box 32, Folder 42
Type:
Archival materials
Date:
1904
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Carnegie Institute Museum of Art records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.
See more items in:
Carnegie Institute, Museum of Art records
Carnegie Institute, Museum of Art records / Series 1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-carninst-ref1550

Childs, Harvey, Jr.

Collection Creator:
Carnegie Institute, Museum of Art  Search this
Container:
Box 32, Folder 44
Type:
Archival materials
Date:
1904
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Carnegie Institute Museum of Art records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.
See more items in:
Carnegie Institute, Museum of Art records
Carnegie Institute, Museum of Art records / Series 1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-carninst-ref1552

Childs, William H.

Collection Creator:
Carnegie Institute, Museum of Art  Search this
Container:
Box 32, Folder 45
Type:
Archival materials
Date:
1909
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Carnegie Institute Museum of Art records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.
See more items in:
Carnegie Institute, Museum of Art records
Carnegie Institute, Museum of Art records / Series 1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-carninst-ref1553

Charles Cajori papers

Creator:
Cajori, Charles, 1921-  Search this
Names:
American University (Washington, D.C.)  Search this
Bertha Schaefer Gallery (New York, N.Y.)  Search this
Colorado Springs Fine Arts Center  Search this
Cooper Union for the Advancement of Science and Art  Search this
David Findlay Galleries (New York, N.Y.)  Search this
Gallery Association of New York State  Search this
Lohin Geduld Gallery  Search this
Museum of Modern Art (New York, N.Y.)  Search this
New York Studio School of Drawing, Painting and Sculpture  Search this
Roko Gallery (New York, N.Y.)  Search this
Stable Gallery (New York, N.Y.)  Search this
Tanager Gallery (New York, N.Y.)  Search this
University of California, Berkeley  Search this
Watkins Art Gallery (American University)  Search this
Whitney Museum of American Art  Search this
Adams, Pat, 1928-  Search this
Bell, Leland  Search this
Chaet, Bernard  Search this
Cézanne, Paul, 1839-1906  Search this
Dodd, Lois, 1927-  Search this
Finkelstein, Louis  Search this
Forge, Andrew  Search this
Gray, Cleve  Search this
Ippolito, Angelo  Search this
King, William, 1925-2015  Search this
Matter, Mercedes  Search this
Pearlstein, Philip, 1924-  Search this
Simon, Sidney, 1917-1997  Search this
Soutine, Chaim, 1893-1943  Search this
Extent:
5.8 Linear feet
0.07 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Sound recordings
Interviews
Video recordings
Transcripts
Date:
1942-2011
Summary:
The papers of New York painter, Charles Cajori measure 5.8 linear feet and 0.070 GB and date from 1942-2011. The collection documents Cajori's activities as a painter, educator, and co-founder of the Tanager Gallery that was located on the Lower East Side in New York through correspondence; writings and notes; interviews, talks, and panel discussions, one digitized, on art and artists; and printed materials.
Scope and Content Note:
The papers of New York painter, Charles Cajori measure 5.8 linear feet and 0.070 GB and date from 1942-2011. The collection documents Cajori's activities as a painter, educator, and co-founder of the Tanager Gallery that was located on the Lower East Side in New York through correspondence; writings and notes; interviews, talks, and panel discussions on art and artists; and printed materials.

Correspondence is personal and professional and consists of mostly incoming letters to Cajori from artists, friends, family, art historians, and academic institutions. There are a few letters from Charles Cajori, including draft of his letters. Among the correspondents are Pat Adams, Leland Bell, Bernard Chaet, Cooper Union, Cleve Gray, Louis Finkelstein, Philip Pearlstein, Sidney Simon, Norman Turner, and the University of California at Berkeley. Of interest, are letters from the founders of the Tanager Gallery, such as Lois Dodd, Angelo Ippolito, and William King. Correspondence also documents Cajori's dealings with galleries and museums as well as his involvement in arts organizations; included are letters from American University, Watkins Gallery; Bertha Schaffer Gallery; Colorado Springs Fine Arts Center; Gallery Association of New York; Museum of Modern Art; Roko Gallery; Stable Gallery; and the Whitney Museum of American Art.

Writings and notes are and about Charles Cajori. Cajori's writings include drafts on painting and drawing that Cajori prepared for classroom lectures and panel discussions; essays on Paul Cézanne and Chaim Soutine; and his account of the founding of the Tanager Gallery. Cajori's writings also include a biographical account and an artist's statement. There are writings by Louis Finkelstein, Andrew Forge, and Mercedes Matter about Cajori's work. Included are several guest registers for Cajori's exhibitions at the David Findlay Gallery, Lohin Geduld Gallery, and the New York Studio School.

Interviews, talks, and panel discussions include a transcript of an interview with Charles Cajori, audiotaped and videotaped interviews with Charles Cajori, and panel discussions with Cajori and others. Panel discussions with Cajori and others cover such topics as the New York school artists and Chaim Soutine. Many of recordings focus on Cajori's association with the Tanager Gallery, the art scene in New York during the 1950s, and his reflections on art. Also included are miscellaneous videotaped recordings. One panel discussion is digitized.

Printed material contains exhibition catalogs, checklists, announcements, invitations, press releases, clippings, reviews, brochures, and miscellaneous printed material. A file of printed materials on the Tanager Gallery includes exhibition catalogs and clippings.
Arrangement:
The collection is arranged as 4 series:

Series 1: Correspondence, 1942-2011 (Boxes 1-2; 1.1 linear feet)

Series 2: Writings and Notes, 1949-2010 (Box 2; 0.3 linear feet)

Series 3: Interviews, Talks, and Panel Discussions, 1983-2010 (Boxes 2-3; 1.2 linear feet, ER01; 0.070 GB)

Series 4: Printed Material, circa 1950s-2010 (Boxes 3-4; 1.4 linear feet)
Biographical Note:
Painter and teacher Charles Cajori (b. 1921-) has worked in New York City and Connecticut.

Born in Palo Alto, California in 1921, Charles Cajori studied painting at Colorado College and the Cleveland Art School. Cajori served in the United States Air Force during World War II. Upon his return, he attended Columbia University and then spent two years at the Skowhegan School of Painting and Sculpture, where he became acquainted with Franz Kline, Willem de Kooning, and other Abstract Expressionist artists.

Charles Cajori was one of the founding members of the Tanager Gallery, an early artists' cooperative gallery, originally located at 90 East Tenth Street in New York, which provided a venue for contemporary artists to exhibit their work. In 1956, Charles Cajori had his first solo exhibition at the Tanager Gallery and since then, has been continuously showing his work in numerous solo and group exhibitions in the United States and abroad including American University, Bertha Schaeffer Gallery, David Findlay Jr. Gallery, El Museo de Bellas Artes de Caracas, Ingber Gallery, Lohin Geduld Gallery, Mattatuck Museum, New Arts Gallery, Paesaggio Gallery, Sala di Esposizione della Biblioteca Americana, Stable Gallery, and the Whitney Museum of American Art. Charles Cajori's work is represented in a number of public and private collections including the Ciba-Geigy Corporation, the Metropolitan Museum of Art, the National Academy of Design, Walker Art Center, and the Weatherspoon Museum.

In conjunction with his activities as an artist, Charles Cajori has taught painting and drawing at major academic institutions and art schools: Colorado Springs Fine Arts Center, Cooper Union, Cornell University, and the University of California at Berkeley. Cajori was a co-founder of the New York Studio School, where he continues to serve on the faculty.

Charles Cajori has received many honors for his work including the 1959 Distinction in the Arts, Yale University; Benjamin Altman, Figure Prize at the National Academy, 1983, 1987; the Childe Hassam Purchase Award by the Institute of Art and Letters Award, 1975-1976, 1980; and the Louis Comfort Tiffany Award, 1979. Also, Cajori was awarded a Fulbright grant to Italy, 1952-1953 and a grant from the National Endowment for the Arts in 1981.

Charles Cajori is married to the painter Barbara Grossman and they live in Watertown, Connecticut.
Provenance:
The collection was donated by Charles Cajori in 2011.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Charles Cajori papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painters -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Sound recordings
Interviews
Video recordings
Transcripts
Citation:
Charles Cajori papers, 1942-2011. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cajochar
See more items in:
Charles Cajori papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-cajochar

Jan Butterfield papers

Creator:
Butterfield, Jan  Search this
Names:
Lapis Press  Search this
Pacific Enterprises  Search this
Bell, Larry, 1939-  Search this
Bischoff, Elmer, 1916-1991  Search this
Dugmore, Edward, 1915-  Search this
Francis, Sam, 1923-1994  Search this
Gehry, Frank O., 1929-  Search this
Goode, Joe, 1937-  Search this
Greene, George  Search this
Guston, Philip, 1913-1980  Search this
Harrison, Helen Mayer, 1929-  Search this
Harrison, Newton, 1932-  Search this
Hopkins, Henry, 1928-2009  Search this
Hudson, Robert, 1938-  Search this
Irwin, Robert, 1928-  Search this
Karp, Michael  Search this
Kienholz, Edward, 1927-  Search this
Nauman, Bruce, 1941-  Search this
Nordman, Maria  Search this
Orr, Eric, 1939-1998  Search this
Rauschenberg, Robert, 1925-2008  Search this
Reinhardt, Ad, 1913-1967  Search this
Resnick, Milton, 1917-2004  Search this
Roche, Jim  Search this
Ruscha, Edward  Search this
Shaw, Richard, 1941 Sept. 12-  Search this
Still, Clyfford, 1904-1980  Search this
Turrell, James  Search this
Wheeler, Douglas  Search this
Wortz, E.  Search this
Wortz, Melinda  Search this
Young, R. Joshua  Search this
Interviewee:
Cage, John, 1912-1992  Search this
Extent:
15 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sound recordings
Video recordings
Transcripts
Interviews
Scrapbooks
Date:
1950-1997
Summary:
The papers of Jan Butterfield measure 15 linear feet and date from circa 1950 to 1997. Papers contain hundreds of recorded interviews with and lectures by artists, panel discussions of artists and art historians, as well as extensive writings by Butterfield. Also found are project files, personal business records, printed materials, photographs, and additional sound and video recordings related to art subjects.
Scope and Contents:
The papers of Jan Butterfield measure 15 linear feet and date from circa 1950 to 1997. Papers contain hundreds of recorded interviews with and lectures by artists, panel discussions of artists and art historians, as well as extensive writings by Butterfield. Also found are project files, personal business records, printed materials, photographs, and additional sound and video recordings related to art subjects.

Interviews and Lectures include hundreds of interviews conducted by Butterfield between 1971 and 1987 with contemporary artists about whom she was writing at the time. The artists Robert Irwin and Sam Francis are represented particularly well. Also found are slide talks, class discussions, and lectures given by artists, which are assumed to have been recorded by Butterfield in most cases. Also among the recordings are recorded performances by John Cage, Joe Goode, Newton and Helen Harrison, Jim Roche, and George Greene. Panel discussions include two notable recordings involving Milton Resnick, one with the painter Edward Dugmore in 1959, and the other with the painter Ad Reinhardt at The Club in 1961, which was later dubbed "The Attack."

The bulk of the writings relate to Butterfield's published work The Art of Light and Space, represented here in multiple drafts, research, and photographs of works of art by the artists discussed in the work including Robert Irwin, James Turrell, Maria Nordman, Douglas Wheeler, Bruce Nauman, Eric Orr, Larry Bell, DeWain Valentine, Susan Kaiser Vogel, and Hap Tivey. Also found are extensive drafts and research for catalog essays for exhibitions of Larry Bell, Richard Shaw, Robert Hudson, and Elmer Bischoff. Drafts of articles and publicity writing are mainly about artists but also some galleries and other art events. There are a few transcripts of recorded interviews, and it appears that many of the writings are based on Butterfield's interviews.

Project files include records relating to Butterfield's involvement with the production of a catalog for the corporate art collection of Pacific Enterprises. These also include additional artist interviews and artist files containing research and writing, mainly by her associate Michael Karp. Also found are photographs and sound recordings for the Waterfront Project at the San Francisco Art Institute, an interdisciplinary community-centered development project that involved Larry Bell, Robert Irwin, Melinda Wortz, Eric Orr, Dr. E. Wortz, Frank Gehry, Newton and Helen Harrison, Josh Young, and students at the Art Institute. And finally, project files include photographs, interviews, and printed material related to publications of Lapis Press, where Butterfield was Executive Director.

Personal business records include correspondence, price lists, financial records, notes, press releases, and career documentation of Butterfield. Printed materials include articles by Butterfield, articles about Butterfield, and articles by Henry Hopkins, most of which are photocopies. There are also clippings, exhibition catalogs, exhibition posters, and publicity. Of note is a disassembled scrapbook pertaining to the controversial Ed Kienholz exhibition at the Los Angeles County Museum of Art in 1966, and a directory of art spaces in Los Angeles from 1978.

Most of the photographs are of works of art by artists about whom Butterfield wrote. Also found are a few files of photographs of artists, some taken by Butterfield, including Philip Guston, Ed Kienholz, Henry Hopkins with Clyfford Still, Robert Irwin, Robert Rauschenberg, and James Turrell. Additional video and sound recordings include artist installations, a documentary on Sam Francis, and an acoustiguide for an Ed Ruscha exhibition.
Arrangement:
This collection is arranged as 7 series.

Series 1: Interviews and Lectures (Boxes 1-5; 4.2 linear feet)

Series 2: Writings (Boxes 5-7, 16, OV 17; 3.7 linear feet)

Series 3: Project Files (Boxes 8-10, 16; 1.6 linear feet)

Series 4: Personal Business Records (Boxes 10-11, OV 17-19; 1.1 linear feet)

Series 5: Printed Materials (Boxes 11-12, 16, OV 17-19; 1.8 linear feet)

Series 6: Photographs (Boxes 12-14, 16; 2.2 linear feet)

Series 7: Sound and Video Recordings (Box 15; 0.4 linear feet)
Biographical / Historical:
Jan Butterfield (1937-2000) was an art writer and critic of contemporary art who spent most of her career in California. She is best known for her writings on late twentieth century installation and craft artists, particularly those who worked in California and the American West.

Butterfield was born Jan Van Alstine in Los Angeles, California in 1937 and attended the Univeristy of California, Los Angeles. She received numerous fellowships and grants from the National Endowment for the Arts as an art critic, and contributed art writing to dozens of exhibition catalogs and art publications including Art International, Images and Issues, Art News, Art in America, and Flash Art. Her most ambitious work of writing was The Art of Light and Space (Abbeville Press: 1993), which profiles the work of contemporary artists Robert Irwin, James Turrell, Maria Nordman, Douglas Wheeler, Bruce Nauman, Eric Orr, Larry Bell, DeWain Valentine, Susan Kaiser Vogel, and Hap Tivey. She was also the author of a 1972 monograph of the Abstract Expressionist painter Sam Francis.

Butterfield held positions in public relations at the Los Angeles County Museum of Art from its opening until 1970, and at the Fort Worth Art Museum from 1970 to 1974. She taught at Northwood Experimental Art Institute in Dallas, Texas, the San Francisco Art Institute, San Jose State University, and Mills College in Oakland, California between 1973 and 1983. At the San Francisco Art Institute, she was Director of the extension program and Coordinator of the visiting artist program and the Waterfront Project between 1976 and 1978. In 1984, Butterfield and the artist Sam Francis co-founded the Lapis Press, where she served as Executive Director from its founding until 1988.

Butterfield was married twice, the second time to Henry Hopkins, Museum Director at LACMA, the Museum of Fine Art of Houston, and the San Francisco Museum of Modern Art. She died in 2000 after an extended illness.
Related Materials:
Also found among the collections of the Archives of American Art is a 1981 panel discussion on Bay area art criticism sponsored by the National Women's Caucus for Art, in which Butterfield participated, as well as an oral history interview Butterfield conducted with Helen Lundeberg for the Archives' Oral History Program in 1980.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reel 1042 including two volumes of scrapbooks. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Jan Butterfield lent material in 1975 for microfilming. She donated the Robert Irwin material in 1980 of and most of the interviews and audio tapes in 1989. An additional 12 feet of papers, including some material previously loaned and microfilmed, along with two additional audio tapes, were donated by Butterfield's brother, and Trustee of the Jan Butterfield Trust, Derek Van Alstine in 2002.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Jan Butterfield papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art historians -- California  Search this
Authors -- California -- San Francisco  Search this
Art critics -- California -- San Francisco  Search this
Genre/Form:
Photographs
Sound recordings
Video recordings
Transcripts
Interviews
Scrapbooks
Citation:
Jan Butterfield papers, 1959-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.buttjan
See more items in:
Jan Butterfield papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-buttjan
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Diaries

Collection Creator:
Britton, James, 1878-1936  Search this
Type:
Archival materials
Date:
1918-1935
Scope and Contents note:
Britton's diaries cover a wide-range of subjects including current affairs and his thoughts about American art and artists, the art scene in New York and Connecticut, classical music, the Great Depression, Prohibition, the Catholic Church, politics, his artwork and writings, his professional associations, New York galleries and exhibitions, and his relationships with family and friends. The diaries also include lists and sketches, including sketches of paintings in his studio at the time of the diary entry. The diaries provide an intimate and descriptive perspective of the Great Depression and its effect on the American family. Hard economic times forced Britton to reuse his children's school composition notebooks as diaries, often writing in the margins or in between the original lines of writing. He describes the toll of the economy on his relationship with his family.

The diaries contain exhaustive detail about the New York art scene and his fellow artists. He writes about George Bellows, Childe Hassam, Ernest Blumenschein, among many others, and about visiting numerous galleries, museums, and exhibitions, such as Knoedler, Frank Rehn, and Kraushaar Galleries, as well as his membership in various clubs and associations, including the New Society of American Artists.

There are two numbered sets of diaries. The first set is numbered XXV-XL and the second set is numbered Miscellanous Volumes 1-32. Britton also created a two-volume index of his diaries numbered XXV-XL. Most of the index was transcribed by the processing archivist and a partial list of relevant name/subject entries is found with the link to each individual diary. A more comprehensive list of entries from Britton's index is also included as an addendum.

A Volume XXX B is referenced in Britton's index which does not appear to be in the collection. It may be missing or perhaps the number was changed by Britton at a later date.

The narrative summaries and access points included with the Miscellaneous Volumes 1-32 were created by the processing archivist and should not be considered fully comprehensive.

See Appendix for a list of names and subjects for Diaries XXV-XL from Series 4.1.
Appendix: List of Names and Subjects from Diary Volumes XXV-XL in Series 4.1.:
Adams, Herbert: XXVII, 88

Ainslie, George: XXXI, 66, 94; XXXII, 38-39; XXXV, 59; XXXVIII, 9, 28, 33

Aitken, Robert J: XXXI, 38-40, 44, 46; XXXV, 7-8, 20, 43; XXXVI, 23

Alexander, Francis: XXXVI, 2

Allen, Ted: XXXVII, 29

Andrews, Helen: XXIX, 68

Anderson, Karl: XXVII, 116

Anderson, Oscar: XXV, 64, 71, 103-106, 119; XXVI, 28; XXXV, 16

Anderson, Ruth: XXXVIII, 30

Anisfeld, Boris: XXVI 48-5l; XXVII; XXXI, 93

Apel, Marie: XXV, 52; XXVI, 44, 47, 57, 97-99; XXIX, 40, 70

Armistice: XXVI, 64-68, 76

Arndt, Paul: XXIX, 70

Art News: XXXVIII, 73

Art Review International: XXVII, 1, 59; XXXIII, list

Atwood, William E: XXV, 50, 53, 56, 62-63, 67-70, 88, 90; XXVI, 28

Auerbach-Levy, William: XXV, 73, 80

Avery, Milton: XXIX, 54

Babcock, E.C.; XXVI, 85, 90, 102-3, 112, 117, 123, 127; XXVII, 38, 41, 49, 73, 80; XXXI, 66-8, 72; XXXV, 60, 108

Ballerini, Nicolo: XXXI, 47; XXXVI, 15-7

Bannon, Annie: XXV, 4; XXVII, 118; XXIX, 52; XXX, 12; XXXI, 13, 75-6, 93; XXXII, 34; XXIV, 1, 138

Baker, Bryant: XXV, 51, 56, 62, 83, 88, 92

Barile, Xavier J.: XXXI, 95; XXXII, 46; XXXV, 124; XXXVII, 29

Barry, James: XXVI, 82; XXIX, 32; XXX, 18; XXXI, 28; XXXIV, 84, self portrait

Bartlett, Paul: XXVII, 65, 90, 109; XXX, 20; XXXII, 1, 34-5; XXXV, 7, 20

Bayley, Frank [Copley Gallery]: XXV, 70, 101-102; XXIX, 4-5, 59

Beal, Gifford: XXVII, 28, 61, 70; XXXI, 76-80; XXXV, 117

Bean, Caroline: XXVII, 49; XXXVI, 14

Beaux, Cecelia: XXVII, 54, 69, 119; XXXIII, 2

Beckwith, Carrol: XXIX, 1

Bellows, George: XXV, 84; XXVI, 41-6, 187; XXVII, 114-117; XXXIX, 6, 70; XXX, 12; XXXII, 46; XXXV, 43; XXXV B, 2, 3, 6; XXXVII, 49, 100; XXXI, 52, 73; XXXII, 46; XXXIII, 8; XXXVII, 14

Belcher, Hilda: XXXVIII, 29

Bernstein, Teresa: XXV, 38, 50-5, 69, 80, 90-105; XXVI, 44-6, 58-9, 63, 80-4, 90-2, 104, 133

Betts, Louis: XXVII, 25

Birch Miniature: XXVII

Blakelock, R.A.: XXX, 27, 42-3, 46; XXXIV, 37; XXXV, 78

Blashfield, Edwin H.: XXVI, 42

Booth, Ralph H.: XXV, visits Gloster exhibit, 80

Borglum, Gutzon: XXX, 20

Boswel, Peyton: XXVI, 98; XXXIII, 16

Bouche, Louis: XXXVII, 25

Boucher, Dr.: XXV, 3, 103-106; XXXI, 76

Bowdoin, W.G.: XXVI, 47-8, 62, 91, 103, 123; XXVII, 69; XXXI, 2; XXXIII, 2; XXXVI, 26-7

Brandegee, Robert B.: XXV, 70; XXVI, 31, 62; XXVII, 43, 57, 118-19; XXIX, 2, 44, 68, 72; XXXVII, 24

Brennan, Alfred

Britton, Caroline: XXV, 32; XXVII, 49; XXXIV, 22, 31; XXXVIII, 61

Britton, Dr. Christian: XXVI, 48, 50-2, 60, 86, 117; XXVII, 32, 115-117; XXX, 3-4; XXXI, 92; XXXIII, 30; XXXIV, 15; XXXVI, 26

Britton, Ernest J.: XXVI, 39; XXIX, 44, 52; XXX12, XXXI, 7-13; XXXI, 50, 92; XXXII, 32-33; XXXIII

Britton, Jerome: XXV, 37; XXXVIII, 32, 35

Britton, Captain J.C.: XXV, 3; XXVI, 2, 29, 43; XXVII, 114; XXIX, 2, 44, 52, 74; XXXI, 12, 50, 65-71; XXXV, 9-11

Britton, Mrs. J.C.: XXV, 3, 25

Britton, Leo F.: XXXI, 76

Britton, Ruth: XXX; XXXVIII, 54, 63

Britton, Teresa: XXV, 61; XXVI, 115; XXVII, 110

Brooks, Richard: XXV, 55, 71

Brown, Frank L.: XXV, 71, 92

Brown, Henry Kirke: XXXIII, 37

Bruno, Guido: XXVII, 110

Brush, Franklin: XXV, 56, 63, 97, 105-7, 137

Brush, George de Forest: XXXIII, 2

Buchanan, Charles L: XXVII, 42

Bunce, W. Gedney: XXVII, 46, 48, 71-2; XXXV, 6, 120

Burr, Colin: XXIX, 5

Burrows, Carlyle: XXXVII, 29; XXXVIII, 10, 31, 72

Buttero, Arturo: XXXVI, 24, 45

Caffin, Charles H.: XXVII, 80

Cameron, D.Y.: XXIX

Capone, Gaetano: XXVI, 100

Caprio, V.D.: XXXV, 42, 45, 94-5

Carlsen, Enid: XXIX, 5, 72; XXXI, 27, 76, 77, 82; XXXIII, 1-2; XXXVI, 68; XXXV B, 7

Carroll, John: XXXIII, 20-4; XXXV, 32, 34, 45, 64, 89-90, 106-7, 212, 127, 135-6; XXXCIII, 12, 17

Cary, Elizabeth Luster: XXVI, 95; XXVII, 79; XXXI, 67, 82; XXXVII, 13, 16

Cezanne, Paul: XXXV B, 6

Chapman, Carlton: XXIX, 59; XXX, 4-5

Chase, William M.: XXV, 96; XXVII, 64, 68; XXXVIII, 3

Chasseriau: XXX, 32

Chavannes, Purvis de: XXV, 56

Cheney, Russell: XXXVI, 26-7, 75-6; XXXVIII, 18

Clark, Eliot: XXVII, 99, 100; XXX, 5

Clarke, Thomas B: XXVI, 115; XXVII, 87, XXIX, 48, XXX, 8

Clivette, Merton: XXXVI, 48-50

Coburn, F.W.: XXV, 62, 67, 92

Cole, Thomas Casilear: XXXV, 77, 120, 123, 126, 131, 136; XXXVI, 82, 85; XXXVIII, 14, 33

Cooney, Mrs Anna P Britton Macgronen: XXVI, 39; XXVII, 43, 57, 91, 111, 115; XXIX, 43, 55; XXXI, 72; XXXV, 5, 31; XXXV B, 27; XXXVI, 6

Cooney, John: XXV, 21, 39; XXVI, 58, 115; XXVII, 42; XXIX, 49, 55; XXXI, 73-6; XXXII, 5; XXXV, 114, 125; XXXVI, 6, 9-10, 28, 39; XXXVI, 48, 61, 71, 88; XXXV B, 27

Cooney, Michael: XXXI, 92

Copley, John Singleton: XXV, 29, 50, 61-2, 65, 70, 73, 77-8, 86, 102-3, 108, 113, 115-17; XXVI, 57, 81-2, 106, 109-12, 111-122, 129; XXVII, 1, 3, 17-8, 29, 35, 93; XXIX, 4; XXX, 35, 44-6; XXXI, 36; XXXII, 8-9; XXXIII, 4, 17, 26, 32, 34, 46, 80, 84-5, 87, 99; XXXVI, 2, 34; XXXVII, 12; XXXVIII, 51; XXXIX; XL, 1-2

Coppedge, Fern: XXV, 95

Cornoyer, Paul: XXV, 71

Cortissoz, Royal: XXVI, 102, 134; XXXIII, 9; XXXV, 111

Costigan, John: XXVIII, 3

Cosway, Richard: XXV, 115

Cox, Kenyon: XXVII, 7, 97

Crane, Bruce: XXX, 38-40

Crews, Floyd: XXXV, 36, 60, 90, 94, 114, 122-4, 136-7; XXXVI, 23-5, 37, 46, 86; XXXV B, 5, 9, 18-9; XXXVII, 22; XXXVIII, 13, 33-4; XXXIX, 1

Cross, Amy: XXXV, 116

D'Hervilly: XXXV, 29

Damrosch, Helena: XXXV, 134

Daniel, Charles: XXVI, 98, 134; XXVII, 26, 99; XXIX, 39, 42; XXIX, 56; XXXI, 84-6; XXXVII, 16; XXXVIII, 3

Davey, Randell: XXV, 54, 69, 73, 80-1, 84-89, 95-100, 106; XXVI, 29, 40, 99-100; XXVII, 27, 38

Davies, A.B.: XXVII, 84, 87-8

Davis, Ch. H.: XXXIV, 2

De Nezzo, Victor: XXXI, 65; XXXIII, 10

De Valera, Eamon: XXIX, 81; XXX, 1, 11; XXXI; XXXIII, 2; XXXV, 19, 135; XXXVI, 53

DeCamp, Jos: XXXIII, 14

DeKay, Charles: XXX, 39

DeMorgan, William: XXXVIII, 47

Detweiller, F.: XXVI, 97, 119, 123-5, 130-4; XXXVI, 6, 20-1, 37, 54-5, 77-8, 80-2, 85-7; XXXV B, 20; XXXVII, 22, 29, 32-8; XXXVIII, 14, 49, 52, 81, 88-9; XXXIX, 5

Dewey, Ch. Melville: XXIX, 72

Dickinson, Edwin: XXVII, 94; XXXVIII, 31, 42, 94

Dickinson, S.E.: XXVI, 48, 90, 125-7, 133; XXVII, 40-1, 51, 56-8, 63-4, 70, 73-9, 91, 93; XXVII, 93-7, 107-9; XXIX, 36, 40, 64, 70-1; XXX, 2, 38, 45, 47, 51, 61, 72-5, 82, 94; XXXII, 5, 32-3; XXXIII, 7, 10, 23-5; XXXIV, 1, 3-4; XXXV. 6, 36, 38, 55-6, 74, 77, 90, 93-4, 105-6, 115, 121-2; XXXV B, 17, 20-5; XXXVI, 5, 7, 11, 30, 36, 44, 55-6, 71, 90, 83; XXVII, 1; XXXVIII; XXXIX

Donner, Herman Montago: XXXVI, 18

Donoghue, John: XXXII, 1

Donohue, William Howard: XXXVIII, 49; XXXIX, 3-4

Dorfner, Joseph: XXXV, 132, 136

Dorr, C. H.: XXXVI, 102; XXXVII, 78, 90

Dougherty, Paul: XXXVI, 103, 142; XXXVII, 33-4, 70; XXX, 3, 17; XXXVII, 72

Douglas, H. W.: XXVII, 119; XXIX, 11, 64, 68

Downes, W.H.: XXV, 28

Downey, Chris: XXXV, 29

Dreier, Katherine: XXXVIII, 89

DuBois, Guy Pene: XXV, 85, 91; XXVI, 40, 89-91; XXVII, 53, 69, 74, 79, 100; XXIX, 72; XXXI, 62; XXXII, 6; XXXV, 117

Dudensing: XXXI, 46, 78; XXXII, 40, 46; XXXV, 99, 121-2; XXXVI, 88; XXXV B, 17, 21; XXXVII, 13, 24; XXXVIII, 8, 10, 17, 33, 49, 52, 88-9, 92, 94, 100, 105;

Dunlap, William: XXXV, 84-6

Duveen: XXVIII, 9

Duveneck, Frank: XXV, 53, 86; XXVI, 48; XXIX, 57; XXXI, 67; XXXIII, 1; XXXV, 61

Eakins, Thomas: XXVII, 67; XXXV, 111; XXXVI, 21; XXXV B, 6

Eaton, Alfred J.: XXXV, 21

Eilshemius, Louis: XXXVIII, 89

Eitel, Walter O.: XXV, 48, 103; XXVI, 100; XXVIII, 104

Ehrich, Walter: XXIX, 10, 55

Elliott, C. L.: XXX, 26

Ennis, George Pearse: XXVII, 38, 96; XXIX, 6; XXXI, 79; XXXIII, 7; XXXV, 131; XXXVIII, 9

Escobal: XXXVII, 42

Expressionists: XXVII, 50, 73

Fairchild, May: XXXVI, 63; XXXVIII, 30; XXXVII

Fenning, Elizabeth: XXIX, 54

Feurbach, Anselm: XXIX, 41

Fiedler, Max: XXXVI, 17;

Fiske, Gertrude: XXVI, 127

Fitler, Mrs. W.C. Claude Raquet Hirst: XXV, 54; XXVII, 62; XXXVIII, 30

Flagg, Charles Noel: XXVII, 71; XXIX, 41, 45; XXXII, 34; XXXV B, 5, 18

Flagg, Montague: XXIX, 34; XXXV B, 18, 23; XXXVIII, 20

Flanagan, John: XXVII, 69; XXIX, 45, 56; XXXI, 38-9, 61-2; XXXII, 35; XXXV, 82

Foster, Ben: XXIX, 3; XXXV, 107

Foster, Charles: XXVII, 119; XXIX, 3

Frankel, S: XXXVI, 89; XXXVII, 24-5

Frazen, August: XXVII, 85, 99; XXXI, 73; XXXIII, 33; XXXV, 131; XXXVI, 23; XXXVIII, 36-40

Freer, William Dink: XXX, 12; XXXV, 11, 39

Friedlander, Arthur: XXXIII, 7

Fuller, George: XXVI, 33; XXXI, 26; XXXV, 61

Fury, C.: XXV, 23; XXVI, 33; XXVII, 119; XXIX, 68-9; XXXI, 11, 68; XXXII, 34

Garber, Dan: XXVI, 46

Gaspard, Leon: XXXVIII, 90-1

Gay St.: XXXI, 65

Gay, Edward: XXXI, 26, 49; XXXII, 4; XXXIII, 26, 31, 31, 33; XXXV, 45, 58

Gay, Frank B.

Gay, George A.

Gernhardt, Harry: XXV, 103, 110; XXVII, 90; XXIX, 62; XXXI, 6

Gerrity, Thos: XXVII, 38, 78, 80; XXIX, 49

Gibson, Charles Dana: XXVI; XXXIII, 19, 25; XXXV B, 2-3

Giles, Howard: XXVI, 97; XXVII, 101-2; XXIX, 6-8; XXXII, 4; XXXV, 107; XXXV B, 2, 4

Golbberg, Frieda: XXXV B, 14-5, 15, 20-4

Goldthwait, Anne: XXIX, 45; XXXV, 82

Goodwin, Arthur: XXVI, 29; XXXI, 3-6; XXXVI, 22

Gould, Robinson: XXXVIII, 41

Grant, Isaac H.: XXV, 93

Grant, Walter: XXXVIII, 20

Granville-Smith, W.: XXVI, 104; XXVII, 38, 46, 68-9, 100-2; XXXII, 4; XXXIII, 19; XXXV, 78, 107, 116; XXXVIII, 9

Greacen, Edward: XXIX, 55

Green, Dulce: XXIX, 54

Green, H. Abbot: XXV, 23; XXIX, 68; XXXI, 65

Gregg, F. J.: XXVI, 98; XXVII, 32, 84-5, 90, 104-5; XXXII, 9

Griffin, Walter: XXVII, 65, 71, 99-100, 115; XXIX, 58; XXX, 28; XXXI, 53; XXXIII, 34; XXXV, 81, 120

Groll, Albert: XXXVII, 47, 100; XXXI, 61-2, 79; XXXIII, 8, 15; XXXIV, 1-2; XXXV, 20; XXXVI, 11-13; XXXV B, 4; XXXVI, 23

Gruppe, Charles P: XXXVIII, 40, 43

Hackett, Francis: XXVI, 132

Hafner, Charles Andrew: XXXI, 38, 80; XXXIV, 1, 14; XXXV, 1, 44, 55, 57, 60 63, 67, 77, 90-2, 120, 129, 130, 133; XXXV B, 1, 5; XXXVI, 14, 20, 25, 73

Hafner, Victor: XXXV, 55, 66, 92, 94

Hale, Philip L.: XXV, 40, 52; XXVII, 48, 56, 117; XXXV, 16l; XXXVI, 80

Hall, Frederick: XXVI, 127

Halpert, Samuel: XXVI, 135; XXVII, 26l XXIX, 6, 39, 80

Hambridge, Jay: XXXV B, 1-5

Hamilton, McClure: XXXIII, 25

Hardie, Robert Gordon: XXXVIII, 51

Harris, Frank: XXVII, 110

Harris, Sam: XXXVIII, 45

Hart, Charles Henry: XXXI, 1

Hartman, Bertram: XXVII, 25l; XXIX, 55

Hassam, Childe: XXV, 97; XXVII, 34, 48; XXIX, 55; XXX, 28l XXXI, 1, 73; XXXII, 1; XXXIII, 14, 20, 34; XXXV, 25, 80-2, 119; XXXVI, 10; XXXVIII, 91

Haverty, J. J.: XXXVII, 17-21; XXXVIII, 17

Hawthorne, Charles W: XXX, 55-6

Haydn, Josef: XXV; XXVI, 97; XXVII, 79-80, 113; XXXIV, 17-20; XXXV, 46, 127; XXXVI, 15-6, 28-9, 33; XXXVIII, 74, 81-2, 94-5

Haytner, George: XXIII, 43

Healey, George P. A.: XXXI, 21-2; XXXVIII, 50

Hecht, Victor

Heney, Charles: XXVII, 83l XXVI, 51, 53, 89

Henri, Robert: XXVI, 46, 98; XXVII, 53-4, 115-7; XXXI, 20; XXXII, 46; XXXIII, 25; XXXV, 107

Herbert, Victor: XXXVI, 15

Higgins, Eugene: XXVI, 45-6, 60, 84, 136-7; XXVII, 25, 53, 73, 75-6, 95-8; XXIX, 3-5, 12; XXXI, 66-8, 72-4; XXXIII, 8, 23; XXXV, 6, 9, 20, 23, 108-9; XXXVI, 22-3; XXXVII, 14-5

Hines, William Clocker: XXXVII

Hooker, J.: XXVI, 31-3; XXXVIII, 105, 107

Hopkinson, Charles: XXV, 40

Hoppin, Charles A.: XXXI, 90; XXXII, 32-3; XXXIII, 19, 33, 38; XXXIV, 14, 23-4; XXXV, 6, 11-2, 24, 39, 55, 76, 88, 90; XXXV B, 12

Horne, Grace: XXV, 53, 69, 81

Horton, Herbert: XXXVI, 20

Howell, Felicia Waldo: XXV; XXVI, 29

Huneker, James: XXXI, 18; XXXVI, 10; XXXVIII, 78

Hunt, William Morris: XXX, 45; XXXIII, 35, 37

Huntington, Dan: XXX, 13, 16; XXXVIII, 51

Ingres: XXX, 23; XXIV

Inman, Henry: XXX, 17; XXXV, 87

Innes, George: XXXI, 66

Inukai, Kyohei: XXXV, 110-111, 132, 136; XXXVI, 7, 25, 28-9, 36, 38, 40, 42-3, 46, 50-6, 64; XXXV B, 10, 13, 26-7; XXXVII, 16, 39, 42; XXXVIII, 4, 8-9, 18, 20, 34-5, 40-1l 82, 85, 88, 90-100

Jaccaci, August: XXVII, 35

Jacobs, Michel: XXXV, 133

Johnson, Eastman: XXXIII, 19

Jones, Paul: XXXV, 137; XXXV B, 21

Judson, Alice: XXVI, 104; XXVII, 5-6, 38-9, 41, 60, 64, 96-7; XXIX, 3, 36; XXXIV, 13; XXXV, 73; XXXVI, 14, 30, 54, 69-70; XXXVIII, 9-90

Katzief, J. D.: XXXVII, 35-7; XXXVIII, 41

Keefe, Lucia: XXVV, 52

Keller, Deane: XXVII; XXXVIII, 94, 103; XXXIX, 3

Kennedy, E. D.: XXIX, 63

Kenny, M.: XXV, 86

Kensett, John F.: XXVII, 52-3

Kent, Rockwell: XXIX, 33, 43

Kevorkian: XXIX, 10, 45, 55; XXXIII, 19

Kidder, Frank: XXVI, 133

Kimbel, Richard: XXV, 91-2, 105; XXVI, 104, 113; XXVII, 52, 69; XXXI, 80; XXXIII, 9; XXXV, 123-4, 131, 168; XXXVIII, 85

Kingore, C. Grant: XXVII, 32, 76, 117; XXIX, 43

Kinnis: XXXVII, 44

Kitson, Henry Hudson: XXV, 65; XXXVI, 66-7

Klauser, Ella: XXVI, 113

Kneisel, Franz: XXXVI, 15

Knoedlers: XXVI, 136, 180-1; XXVII, 115; XXIX, 47, 58

Kone, Irma: XXVI, 29

Konody, Paul G.: XXIX, 63

Kraushaar, John: XXVI, 42; XXXVIII

Kress: XXV, 29, 107; XXVI, 42-3; XXVII, 118; XXIX, 1, 21, 54; XXXV, 14, 16

Kronberg, Louis: XXV, 37, 53, 64, 83, 95-7; XXXI, 3-4, 83; XXXV, 16; XXXVII, 23

Kuehne, Max: XXVI, 42

Kusnitzky, Abraham: XXXI, 47; XXXVI, 83

La Farge, John: XXXVIII, 64

Langzettel, George: XXIX, 44

Lanier, Henry: XXVII, 116

Lathrop, W. L.: XXXV, 81-2

Laurens, Jean Paul: XXXIII, 21

Lawlor, Frederick: XXVI, 100; XXVII, 52-3

Lawson, Ernest: XXVI, 135; XXVII, 116-7; XXIX, 35-6, 56, XXIX, 38-9, 80, 84; XXXV; XXXVIII, 64

Lee, Charles: XXXIII, 5, 7

Legros, Alphonse: XXXI, 10, 77

Lever, Beatrice Sinclair: XXVI, 42, 47, 57, 86, 123-4; XXVII, 26, 33, 36, 61, 69; XXXII, 43

Lever, Hayley: XXV, 54, 69, 83-4, 109, 119; XXVI, 37, 40, 104; XXVII, 25, 61, 78, 101, 131; XXXI, 79; XXXV, 107, 109; XXXVI, 22, 31

Levy, John: XXIX, 56; XXX, 8, 27; XXXI, 2; XXXII, 2, 43; XXXIII, 3, 10, 23, 33; XXXV, 103; XXXVI, 61-3

Lie, Jonas: XXVI, 44; XXVII, 116; XXIX, 52; XXXI, 79

Lindsay, Sam; XXXVI, 36, 56-7, 72-3, 83-4

Little, Philip: XXVII, 33, 36; XXX, 8, 39

Londoner, Amy: XXVI, 44

Lukeman, Augustus: XXXV, 133-4; XXXVIII, 5

Luks, George: XXV, 89; XXVI, 42; XXVII, 48, 56, 85, 87-8, 117; XXX, 28; XXXIV, 37; XXXVI, 10; XXXVIII, 4

Lyle, Margaret: XXV, 46

Lyndhurst, Lord John S. Copley Jr.: XXXV, 112

Macbeth, Robert: XXVII, 33; XXIX, 8-9; XXXII, 37; XXXIV, 15; XXXVIII, 85

Mahon, Judge Edward: XXVII, 90

Mallet, Mrs.: XXXV, 58

Manning, Rose: XXXV, 92, 124; XXXVI, 22-8, 30, 65; XXXV B, 5, 8, 12-3, 18-9; XXXVIII, 54-9, 63

Marin, John: XXIX, 39

Martin, Homer: XXVII, 27; XXX, 45, XXXI, 67; XXXII, 4

Mason, Henry: XXXI, 66-7; XXXVIII, 100, 199

McBride, Henry: XXVI, 47, 96, 104; XXVII, 31, 92, 102-3; XXXI, 79; XXXIII, 11; XXXV, 25; XXXVI, 22; XXXVIII, 93

McCameron, Robert: XXIX, 66, 71

McCord, Mary: XXXVI, 104

McCormack, John: XXVI, 98

McCormick, William B.: XXXVII, 16-7

McCullough, William: XXXV, 69; XXXVI, 49

McDowell, Edward: XXXVIII, 82, 84

McEvoy, Ambrose: XXIX, 63

McManus, James G.: XXXI, 76; XXXV, 18; XXXVIII, 74, 105

Melchers, Gary: XXVI, 44

Meriden Property: XXIX, 53, 55; XXXIII, 23

Merrick, Lula: XXVI, 50, 113; XXVII, 50, 69, 73, 96, 117; XXXV, 133; XXXVI, 29

Metcalf, Willard: XXXIII, 2, 13; XXXV, 43, 81

Milch Galleries: XXXI, 3; XXXII, 41; XXXIII

Miller, Charles Townsend Abercrombie: XXXV, 62, 118, 122, 131, 136; XXXVI, 7, 33, 45, 58-9; XXXV B, 22; XXXVIII, 16

Molarsky, Maurice: XXVI, 59; XXVII, 100, 112

Moloof: XXXVI, 70

Monstross, N. E.: XXVI, 40, 101

Montgomery, J.: XXV, 41, 43, 107

Morris, Dr. Charles Evans: XXXVI, 50-1

Morse, S. F. B.: XXXVIII, 79

Moutfort, Arnold: XXVII, 40, 51, 63, 77, 79, 88, 93, 99; XXIX, 4, 40, 44, 64

Mowbray-Clarke: XXIX, 9

Mozart: XXXIV, 21

Muller, J. Frank: XXVII, 69; XXXV B, 26

Muller, Michael: XXXVII, 29-30, 41; XXXIX, 3-4

Muncy, Percy: XXXVI, 32; XXXVIII, 16; XXXV B, 7

Muranyi, Gustave: XXXVII, 34

Murphy, J. Francis: XXVI, 101-2; XXVII, 39, 42-3, 66-8, 84, 95, 100; XXIX, 56, 72-3; XXXI, 52, XXXIII, 17-8, 33; XXXV, 78; XXXVI, 24; XXXV B, 7

Mussman, Mrs. S.: XXXVI, 47



Myers, Jerome and Ethel: XXVII, 32-3, 79; XXX, 12; XXXVI, 20; XXXVII, 14; XXXVIII, 4, 20, 64

Nave, Captain Royston: XXVII, 41, 51, 57-8, 64, 76, 91-7, 107-8; XXIX, 40, 70-1; XXXIV, 3-4, 13-4, 23

Neagle, John: XXXV, 80

Neimyer, John H.: XXIX, 44

Nelson, George Laurence: XXVI, 51, 116; XXVII, 60, 100; XXXV, 76

Nelson, W. H.: XXVI, 44; XXVII, 79, 99-100; XXIX, 44; XXXI, 80; XXXII, 40, 43; XXXIII, 30; XXXIV, 14-5; XXXV, 59, 77

Newell, Glenn: XXXIII, 3, 8, 40, 43, 94

Nielson, Isabel: XXV, 51, 88, 99; XXVI, 30

Nielson, Raymond: XXV, 51; XXVII, 70

Nisbet, Robert: XXVII, 101, 116; XXXI, 73; XXXVI, 23

Nolan, Daniel: XXV, 72; XXIX, 60

Norton, Clara: XXXIV, 13

Nuni, Ann: XXV, 88, 91, 110, 124, 137-8; XXXVI, 7, 14, 28, 31; XXXV B, 1-5, 9, 11, 14, 17, 20, 26

Nuni, Grove: XXXVIII, 95

Nyerighazi, Erwin: XXXV, 128, 130; XXXVI, 7, 15-6, 20, 73; XXXV B, 8, 14

O'Brien, Jim: XXXVIII, 34

O'Callahan, Clinton: XXXI, 47

O'Connor, Andrew: XXIX, 72; XXXV, 7

O'Connor, Patricia: XXV, 107

O'Malley, Power: XXXI, 20, 26

O'Ryan, General John F: XXVII, 111

Olin, Albert: XXXI, 49

Oliver, Miss Jean N.: XXV, 37, 54-7, 70, 81, 88-90, 105; XXVI, 44, 92-3, 127; XXXI, 5; XXXV, 16

Pach, Walter: XXVII, 112

Palmer, Delos: XXVII, 41; XXXV, 64-5

Palmer, Erastus: XXXII, 10; XL, 1

Palmer, Hermann: XXXII; XXXVII, 39

Parsons, Ruth: XXV, 111, 118-9; XXVI, 30

Patty, W. A.: XXXIII, 9; XXXVIII, 69

Paxton, William McGregor: XXV, 52; XXXI, 81

Pennell, Joseph: XXIX, 63; XXX, 28; XXXI, 44; XXXVII, 15; XXXVIII

Perkins, Parker: XXV, 56

Pettie of Knoedlers: XXXIII, 11

Phillips, Duncan: XXVI, 95; XXXIV, 28-9

Pierce, Waldo: XXXVI, 79-80

Pierpont, J.: XXXVII, 42; XXXVIII, 12, 20

Pokras, Max: XXXVII, 35

Pollia, Joseph: XXXVII, 35; XXXVIII; XXIX, 5

Popp, John: XXXI, 47

Potter, E.C.: XXXVII, 5, 17; XXXIX, 3, 7

Potter, Louis: XXIX, 1

Potter, Nathan D.: XXXV B; XXXVI, 5, 20, 27, 30-2, 37-8, 42-5, 69-74; 86; XXXVII, 13-7, 42; XXXVIII, 20, 91, 101; XXXIX, 3-7

Potter, William J.: XXXVI, 68, 70, 72, 74, 79; XXXVIII, 90-1

Poussin, Nicolo: XXXII, 3

Powell, Widow: XXIX, 52; XXXII, 31, 41, 116; XXXV, 138

Prendergast, Maurice: XXVII, 50, 57, 71, 89; XXXI, 53

Prutting, J.: XXXVIII, 105

Price, F. Newlin: XXIX, 42, 72; XXXI, 1, 77; XXXIII, 13; XXXVII, 25

Quinn, Edmund: XXXI, 62-3; XXXVIII, 64

Quinn, John: XXXVIII, 78

Quistgaard, John Van Rehling: XXXVI, 106, 123-4; XXXII, 43; XXXIII, 3, 30, 33-5; XXXIV, 1, 37; XXXV, 101-3; XXXVIII, 99

Ranger, Henry W: XXVII, 63

Ray, Man: XXIX, 57; XXXI, 92

Regnault, Henri: XXXIV, 21

Rehn, Frank: XXVII, 47; XXIX, 55

Reinhardt, Henry: XXIX, 50

Reynolds, Sir Joshua: XXXI, 15-6

Richter: XXVII, 89; XXIX, 18, 43

Riley, John: XXXIII, 40-1

Ringius, Carl: XXV, 93, 107; XXVI, 29; XXXI, 47

Rio, Anita: XXVII, 98; XXXI, 72, 78-9; XXXV, 27; XXXVI, 11

Ritman, Louis: XXVII, 89



Rittenberg, Henry: XXXI, 80; XXXIII, 7; XXXVI, 74

Robbins, John W.: XXIX, 11

Robinson, Theodore: XXXI, 49, 76, 90-1; XXXII, 4; XXXIII, 1, 13, 15

Robinson, Will: XXVI, 104

Rodin, Auguste: XXV, 55

Roosevelt, Theodore: XXXI, 64

Rosenthal, A.: XXXI, 1

Rosenthal, Sonia: XXIX, 46

Rowse: XXXIII, 37

Rungius, Carl: XXVII, 39, 101; XXXIII, 9

Ruth, Babe: XXXV B, 30

Ryder, A. P.: XXVII, 72; XXIX, 51; XXXVI, 1, 13; XXXV B, 2-3

Sag Harbor, New York: XXXVIII

Sahler, Helen: XXV, 56, 71, 99; XXVI, 92, 113; XXVII, 69

Saint-Gaudens, Augustus: XXV, 87; XXVII, 109; XXIX, 12

Saling, Paul: XXXVI, 36

Sargent, J. S.: XXV, 38, 52, 72; XXVI, 85; XXIX, 60; XXX, 28; XXXI, 78; XXXIII, 10; XXXV, 34, 103; XXXVI

Sargent, Margaret: XXX, 28

Seymour, R. Russell: XXV, 47; XXVII, 118; XXIX, 1

Seaton-Schmidt, Anna: XXV, 38, 91

Shakespear: XXX, 24; XXXVIII

Shee, Sir Martin A.: XXXIII, 43; XXXIV, 11-2

Sherman, John: XXXI, 42

Sherwin, Mrs. Louis: XXVI, 116; XXVII, 110; XXIX, 2

Shurtleff, Roswell M.: XL, 1

Sloan, John: XXV, 40, 52, 54, 68-9, 73, 85, 93-4; XXVI, 29, 64, 77-8, 99-100, 137; XXVII, 31, 35, 38-9, 112-3, 116-7; XXIX, 66; XXXI, 51; XXXII, 46

Smith, W. H.: XXIX, 69

Snell, Henry: XXV, 81, 100, 104; XXVII, 99; XXIX, 10

Society of American Artists: XXXII, 11-27

Spanish Encyclopedia: XXIX, 27

Speicher, Eugene: XXVII, 117; XXXIII, 25; XXXVIII, 72

Spencer, Elizabeth: XXVI, 103-4; XXXVIII, 29

Stieglitz, Alfred: XXVI, 98; XXIX, 39

Sterner, Marie: XXVII, 25, 79; XXXI, 27; XXXIII, 10, 12

Sterner, Albert: XXVI, 136; XXVII, 79; XXXIII, 12; XXXVI, 20; XXXV B, 1, 3-4

Stevenson, Gordon: XXXVI, 13-4, 21, 45, 87, 90; XXXVII, 33; XXXVIII, 6, 8, 31, 74

Strauss, Richard: XXXVI, 41

Stuart, Gilbert: XXVII, 19, 21; XXVII, 35; XXXIII, 43; XXXIV, 11; XXXV, 85; XXXVIII, 50

Sully, Thomas: XXX, 15; XXXVIII, 50

Szopory, Baron Imre: XXXV, 105, 124-7, 131, 136; XXXVI; XXXV B, 7; XXXVII, 28, 31, 39; XXXVIII, 8, 83; XXXIX, 5, 7

Tarbell, Ed.: XXV, 96

Thayer, Abbot: XXVII, 108

Thompson, Juliet: XXIX, 45

Thorp, Earl: XXXVII, 36

Towle, Captain Ledyard: XXVII, 107

Townsend, J. B.: XXV, 53, 64; XXVI, 42, 47, 49-50, 57-8, 84, 86, 97, 100, 104, 106, 136; XXVII, 33, 35-6, 47, 62, 80, 96; XXIX, 45, 61; XXXII, 43; XXXV, 116; XXXVIII, 4, 73

Trotta, Guiseppe: XXVII, 91

Tupper, Alex: XXXI, 5

Twachtman, John: XXV, 89; XXVII, 6, 65; XXIX, 13, 16, 56-7, 61; XXX, 34, 44; XXXI, 39, 45, 48-9, 67; XXXIV, 35

Valencampf, Theo: XXV, 51, 56, 67, 70, 91, 109, 119; XXVI, 28; XXIX, 61; XXXV, 16

Van Cleef, Augustus: XXXVIII, 73

Van Veen, Peter: XXXI, 67; XXXVIII, 85

Vanderbilt, Gertrude: XXXII, 4

Vanderlyn, John: XXXV, 87

Vayana, Nunzio: XXVII, 118; XXXII, 34; XXXVI, 16

Vezin, Charles: XXVII, 102; XXXVI, 65-6; XXXVII, 24

Vincent, Harry: XXXI

Vinton, F. P.: XXXIII, 1; XXXV

Von Boskerk, Robert: XXVII, 85

Von Shollay, Ruth: XXV, 51, 87-8, 96, 98; XXVI, 28; XXIX, 54, 60

Vonnoh, Robert: XXVII, 104; XXIX, 6, 8; XXXI, 79; XXXIII, 7; XXXVI, 22; XXXV B

Vose, Robert: XXV, 5-, 62, 118; XXVI, 33; XXVII, 46, 110; XXIX, 61; XXX, 8, 10, 42, 44; XXXI, 50; XXXVIII, 91

Wagner, Richard: XXVI, 84

Waitt, Marian: XXVI, 84

Walcott, Albert: XXIX, 64; XXX, 5, 7; XXXI, 12, 15, 51, 79, 83; XXXII, 94-6; XXXV, 36

Walker, Horatio: XXXI, 49

Walkowitz, Abraham: XXVI, 58; XXVI, 112

Wallace, Cornelia: XXXV, 88, 90-1, 94, 123-5, 130-7, 198; XXXVI, 7-8, 19, 26, 30, 46, 85, 87; XXXVIII, 67, 72, 74-5

Wallace, Ruth: XXIX, 64; XXXI, 23; XXXII, 38-9; XXXIV, 3, 55, 77

Wanda,: XXXVI, 60; XXXVII, 23

Warner, Olin L.: XXXII, 1; XXXV, 106; XXXVIII, 64

Washington, George: XXXV, 83

Watrous, Harry: XXVII, 102; XXIX, 3, 21; XXXI, 83; XXXVI, 33

Weiland, James: XXVII, 68; XXXIII, 17

Weir, J. Alden: XXVI, 41, 136; XXVII, 43, 46; XXIX, 17; XXX, 44; XXXI, 62, 83, 87-9; XXXII, 1, 4; XXXIII, 2, 13; XXXV, 106-7, 110

Weitenkampf, Frank: XXV, 29, 31; XXVI, 86; XXXV B, 11

Wendell, Theodore: XXIX, 71; XXXI, 67

West, Benjamin: XXXV, 85

Wetherell, H. K. K.: XXXVI, 22; XXXVIII, 67

Whistler, James: XXVII, 56; XXIX, 65

White, Edwin: XXX, 15

Wilson, Woodrow: XXV, 23; XXVI, 113-5; XXX, 23

Woolf, Michael

Woolf, Sam: XXVI, 42; XXVII, 33; XXXIII, 9; XXXV, 81; XXXVI, 14; XXXV B, 10

Wright, Ed Ashel

Wright, Dr. Joel: XXV, 48; XXIX, 54

Wyant, Alexander: XXVII, 83

Yeats, John B.: XXIX, 65, 66

Young, Howard: XXIX, 50; XXXII, 33

Young, Mahonri: XXVII, 34, 70; XXX, 3, 17, 20, 28; XXXI, 53; XXXV, 76, 91, 109-10; XXXV B, 14; XXXVI, 24; XXXVIII, 12; XXXVIII, 72, 92

Zogbaum, Rufus

Zorach, William: XXXI, 86
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The James Britton papers are owned by the Archives of American Art, Smithsonian Institution. The collection is subject to all copyright laws. Copyright ownership remains with Barbara Britton and Ursula Britton, who have granted the Archives permission to digitize the collection and post on the Archives website.
Collection Citation:
James Britton papers, circa 1905-1984, bulk circa 1905-1935. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.britjame, Subseries 4.1
See more items in:
James Britton papers
James Britton papers / Series 4: Diaries
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-britjame-ref40

Volume XXV (See Addendum List of Names and Subjects for Content Information)

Collection Creator:
Britton, James, 1878-1936  Search this
Container:
Box 1, Folder 18
Type:
Archival materials
Date:
1918 June-September
Scope and Contents note:
(Apel, Marie: 52; Atwood, William E.: 50, 53, 56, 62-69, 67-70, 88, 90; Baker, Bryant: 51, 56, 62, 83, 88, 92; Bayley, Frank [Copley Gallery]: 70, 101-102; Bellows, George: 84; Bernstein, Teresa: 38, 50-55, 69, 80, 90-105; Boucher, Dr.: 3, 103-106; Brush, Franklin: 56, 63, 97, 105-7, 137; Coburn, F. W.: 62, 67, 92; Copley, John: 29, 50, 61-2, 65, 70, 73, 77-8, 86, 102-3, 108, 113-117; Downes, W. H: 28; DuBois, Guy Pene: 85, 91; Duveneck, Frank: 53, 86; Hassam, Childe: 97; Haydn, Josef; Nuni [sic], Ann: 88, 91, 110, 124, 137-8; Sargent, John Singer: 38, 52, 72; Sloan, John: 40, 52, 54, 68-9, 85, 93-4; Twachtman, John: 89; Valencampf, John: 51, 56, 67, 70, 91, 109, 119; Vose, Robert: 5-. 62, 118)
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The James Britton papers are owned by the Archives of American Art, Smithsonian Institution. The collection is subject to all copyright laws. Copyright ownership remains with Barbara Britton and Ursula Britton, who have granted the Archives permission to digitize the collection and post on the Archives website.
Collection Citation:
James Britton papers, circa 1905-1984, bulk circa 1905-1935. Archives of American Art, Smithsonian Institution.
See more items in:
James Britton papers
James Britton papers / Series 4: Diaries / 4.1: Diaries
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-britjame-ref41

Volume XXIX (See Addendum List of Names and Subjects for Content Information)

Collection Creator:
Britton, James, 1878-1936  Search this
Container:
Box 1, Folder 22
Type:
Archival materials
Date:
1919 April-June
Scope and Contents note:
(Apel, Marie: 40, 70; Bayley, Frank: 4-5, 59; Daniel, Charles: 39, 42; Dickinson, S.E.: 36, 40, 64, 70-1; DuBois, Guy Pene: 72; Duveneck, Frank: 57; Flagg, Charles Noel: 41, 54; Griffin, Walter: 58; Hassam, Childe: 55; Higgins, Eugene: 3-5, 12; Kent, Rockwell: 33, 43; Knoedlers: 115; Lawson, Ernest: 35-6, 56; Macbeth, Robert: 8-9; Marin, John: 39; Price, F. Newlin: 42, 72; Ray, Man: 57; Twachtman, John: 13, 16, 56-7, 61; Yeates, John B.: 65-6)
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The James Britton papers are owned by the Archives of American Art, Smithsonian Institution. The collection is subject to all copyright laws. Copyright ownership remains with Barbara Britton and Ursula Britton, who have granted the Archives permission to digitize the collection and post on the Archives website.
Collection Citation:
James Britton papers, circa 1905-1984, bulk circa 1905-1935. Archives of American Art, Smithsonian Institution.
See more items in:
James Britton papers
James Britton papers / Series 4: Diaries / 4.1: Diaries
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-britjame-ref49

Volume XXX (See Addendum List of Names and Subjects for Content Information)

Collection Creator:
Britton, James, 1878-1936  Search this
Container:
Box 1, Folder 23
Type:
Archival materials
Date:
1919 June-August
Scope and Contents note:
(Blakelock, R.A: 27, 42-3, 46; Borglum, Gutzon: 20; De Valera, Eamon: 1, 11; Dougherty, Paul: 3, 17; Hassam, Childe: 28; Little, Phillip: 3, 89; Young, Mahonri: 3, 17, 20, 28)
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The James Britton papers are owned by the Archives of American Art, Smithsonian Institution. The collection is subject to all copyright laws. Copyright ownership remains with Barbara Britton and Ursula Britton, who have granted the Archives permission to digitize the collection and post on the Archives website.
Collection Citation:
James Britton papers, circa 1905-1984, bulk circa 1905-1935. Archives of American Art, Smithsonian Institution.
See more items in:
James Britton papers
James Britton papers / Series 4: Diaries / 4.1: Diaries
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-britjame-ref51

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