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Ira and William Glackens papers

Creator:
Glackens, Ira, 1907-1990  Search this
Names:
Delaware Art Museum  Search this
Kraushaar Galleries  Search this
National Gallery of Art (U.S.)  Search this
National Portrait Gallery (Smithsonian Institution)  Search this
Williams College. Museum of Art.  Search this
Barnes, Albert C. (Albert Coombs), 1872-1951  Search this
Barnes, Laura L., 1875-1966  Search this
Buckley, Charles E.  Search this
Bullard, E. John(Edgar John), 1942-  Search this
Dimock, Ira  Search this
Fitzgerald, Irene Dimock  Search this
Glackens, Edith  Search this
Glackens, William J., 1870-1938  Search this
Kuhn, Walt, 1877-1949  Search this
Liff, Vivian  Search this
Luks, George Benjamin, 1867-1933  Search this
Morse, Stearns  Search this
Perlman, Bennard B.  Search this
Prendergast, Eugénie  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Schwab, Arnold T.  Search this
Shinn, Everett, 1876-1953  Search this
Sloan, Helen Farr, 1911-2005  Search this
Extent:
2.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sound recordings
Writings
Date:
circa 1900-1990
Summary:
The Ira and William Glackens papers, circa 1900-1990, measure 2.3 linear feet. The collection consists primarily of the papers of Ira Glackens relating to the artwork of his father, William Glackens, but also contains scattered correspondence of William and his wife Edith, including letters from Albert Barnes. Ira Glackens' papers include books written by Ira; exhibition catalogs and clippings about William and others; photographs of the Glackens family and friends, of Ira, and of the Glackens residence; and an audio recording of William Glackens' remarks upon accepting an award at the Carnegie International Exhibition in 1936. There are also records of the Sansom Foundation, which was set up by Ira Glackens and his wife Nancy.
Scope and Content Note:
The Ira and William Glackens papers, circa 1900-1990, measure 2.3 linear feet. The collection consists primarily of the papers of Ira Glackens relating to the artwork of his father, William Glackens, but also contains scattered correspondence of William and his wife Edith, including letters from Albert Barnes. Ira Glackens' papers include books written by Ira; exhibition catalogs and clippings about William and others; photographs of the Glackens family and friends, of Ira, and of the Glackens residence; and an audio recording of William Glackens' remarks upon accepting an award at the Carnegie International Exhibition in 1936. There are also records of the Sansom Foundation, which was set up by Ira Glackens and his wife Nancy.

Biographical information consists of genealogical research on the Glackens family and a copy of Ira Glackens birth certificate.

Correspondence of the artist William Glackens includes letters to his wife, Edith, written while on a trip to Paris in 1912 to purchase paintings for collector Albert C. Barnes. Barnes' letters to William and Edith Glackens are about paintings in the Barnes Collection, the educational plans of his Foundation, and Glackens' work and exhibitions. Letters to Edith Dimock Glackens are from relatives and friends including her father, Ira Dimock, her sister, Irene Dimock FitzGerald, author James L. Ford, and painter Maurice Prendergast. There is also a copy of a letter concerning the estate of Lenna G. Borton, the Glackens' daughter.

Ira Glackens' correspondence largely concerns exhibitions, sales, loans, donations and the authentication of artwork by William Glackens. Correspondents include museums, galleries and artists, in addition to personal correspondence with family and friends. Names of significant correspondents in Ira Glackens' correspondence include Laura (Mrs. Albert C.) Barnes, Charles Buckley, Delaware Art Museum, Kraushaar Gallery, Walt Kuhn, Vivian Liff, George Luks, Stearns Morse, National Gallery, National Portrait Gallery, Bennard Perlman, Eugenie Prendergast, Arnold T. Schwab, Helen (Mrs. John) Sloan, and Williams College Museum of Art.

Noteworthy writings include speeches, a memoir, and a short play by Ira Glackens, and family recollections of Edith Glackens. A 1936 audio recording is of remarks made by William Glackens upon being presented with an award for his entry in the Carnegie Institute's International Exhibition. Writings by others include essays by John Bullard and Everett Shinn about Glackens.

Printed material includes Ira Glackens' books, catalogs of group and solo exhibitions featuring the work of William Glackens, clippings concerning William Glackens, and reviews of Ira Glackens' books.

Records of the Sansom Foundation, Inc., a non-profit organization founded in 1950 by Ira and Nancy Glackens to oversee their art interests, consist of annual reports, a charitable trust registration form, and financial and tax records.

Photographs are of the Glackens family, travel scenes and artwork by William Glackens, The Eight, and other artists.

A card index of William Glackens' paintings, prepared by Ira Glackens, provides details of artwork in William Glackens' estate.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Information, circa 1900-1990 (Box 1; 2 folders)

Series 2: Correspondence, 1902-1989 (Box 1; 0.7 linear feet)

Series 3: Writings, 1963-1982 (Boxes 1, 3; 0.2 linear feet)

Series 4: Sansom Foundation, Inc., 1957-1973 (Box 2; 0.2 linear feet)

Series 5: Printed Material, 1903-1989 (Boxes 2-3; 0.6 linear feet)

Series 6: Scrapbook, 1956-1980 (Box 3; 0.1 linear feet)

Series 7: Photographs, circa 1900-1986 (Box 2; 0.3 linear feet)

Series 8: Card Index of William Glackens' Paintings, circa 1940-1949 (Box 3; 0.2 linear feet)
Biographical Note:
Ira Dimock Glackens (1907-1990), the first child of painter and illustrator William Glackens and Edith Dimock Glackens, was born in New York City. Raised in the art world, he was well acquainted with his father's friends and colleagues. Upon his father's death in 1938, Ira became responsible for managing and administering the art remaining in William Glackens's estate.

Educated at the Choate School, Ira Glackens became a writer. He published two books about his father: William Glackens and the Ashcan Group: The Emergence of Realism in American Art (1957) and William Glackens and the Eight: The Artists who Freed American Art (1984). An opera expert, Ira Glackens was also the author of Yankee Diva: Lillian Nordica and the Golden Days of Opera (1963) and an authority on apples.

William Glackens (1870-1938) was born in Philadelphia and studied at the Pennsylvania Academy of the Fine Arts with Robert Henri while working as an illustrator for local newspapers, including the Philadelphia Press. In 1895, he departed for a year in Paris and then moved to New York City where he continued to work as an illustrator for various newspapers and periodicals. Before long, Glackens began to focus on scenes of city life and street crowds and, in 1908, he participated in the groundbreaking exhibition of The Eight at the Macbeth Gallery in New York City.

Between 1925 and 1932 William Glackens lived and worked in France and his painting was strongly influenced by Renoir. He spent the remainder of his life in New York City, exhibiting widely from 1894 on. Glackens was named an Associate of the National Academy of Design and was the recipient of several awards including those of the 1901 Pan-American Exposition (gold), the 1904 St. Louis Exposition, the 1915 Pan-Pacific Exposition, the 1933 Society of Independent Artists Exhibition, and the 1936 Carnegie International Exhibition.
Related Materials:
The Archives also holds several collections related to Ira and William Glackens, including the Ira Glackens letters to Jane Wasey; the Illustrations by William Glackens and letter from Ira Glackens; the Lillian E. Travis papers relating to William Glackens and Charles Prendergast; and the Thomas Hart Benton and Ira Glackens letters. Substantial correspondence between William Glackens and the Kraushaar Gallery can also be found in the Kraushaar Galleries records.
Separated Material:
Published books not authored by Glackens family members or related to Glackens' family members were transferred to the Smithsonian's American Art Museum Library in 2007. A few pieces of artwork were given to Williams College, also in 2007.
Provenance:
The Ira and William Glackens papers were donated to the Archives of American Art by Ira Glackens in 1987, and by his estate in 1991. In 2007 a small cache of papers found in the Glackens home was donated by Susan Corn Conway, who had purchased the Glackens' house.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Ira and William Glackens 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:
Illustrators -- Pennsylvania -- Philadelphia  Search this
Authors -- Pennsylvania -- Philadelphia  Search this
Painting, American  Search this
Eight (Group of American artists) -- Photographs  Search this
Art -- Collectors and collecting  Search this
Painting, Modern -- 20th century -- United States  Search this
Painters -- Pennsylvania -- Philadelphia  Search this
Genre/Form:
Photographs
Sound recordings
Writings
Citation:
Ira and William Glackens papers, circa 1900-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.glacwill
See more items in:
Ira and William Glackens papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-glacwill
Online Media:

Kamm, Richard, Mother and Child (undated)

Collection Creator:
Fraad, Rita  Search this
Container:
Box 2, Folder 31
Type:
Archival materials
Date:
1962, undated
Collection Restrictions:
The collection is open for research.
Collection Rights:
The Rita and Daniel Fraad 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:
Rita and Daniel Fraad papers, 1926-1997. Archives of American Art, Smithsonian Institution.
See more items in:
Rita and Daniel Fraad papers
Rita and Daniel Fraad papers / Series 1: Artwork Documentation Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-fraarita-ref130

Child Seated at Play (undated)

Collection Creator:
Fraad, Rita  Search this
Container:
Box 2, Folder 46
Type:
Archival materials
Date:
1965, undated
Collection Restrictions:
The collection is open for research.
Collection Rights:
The Rita and Daniel Fraad 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:
Rita and Daniel Fraad papers, 1926-1997. Archives of American Art, Smithsonian Institution.
See more items in:
Rita and Daniel Fraad papers
Rita and Daniel Fraad papers / Series 1: Artwork Documentation Files / Mora, F. Luis
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-fraarita-ref147

Hassam, Childe, Easthampton (1916)

Collection Creator:
Fraad, Rita  Search this
Container:
Box 1, Folder 65
Type:
Archival materials
Date:
1962, 1964, 1984, undated
Collection Restrictions:
The collection is open for research.
Collection Rights:
The Rita and Daniel Fraad 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:
Rita and Daniel Fraad papers, 1926-1997. Archives of American Art, Smithsonian Institution.
See more items in:
Rita and Daniel Fraad papers
Rita and Daniel Fraad papers / Series 1: Artwork Documentation Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-fraarita-ref85

Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection

Creator:
McGuigan, Mary K.  Search this
Names:
Pennsylvania Academy of the Fine Arts  Search this
Beard, W. H. (William Holbrook), 1824-1900  Search this
Bierstadt, Albert, 1830-1902  Search this
Boughton, George Henry, 1834-1905  Search this
Carey, Mathew, 1760-1839  Search this
Church, Frederic Edwin, 1826-1900  Search this
Colman, Samuel, 1832-1920  Search this
Copley, John Singleton, 1738-1815  Search this
Cropsey, Jasper Francis, 1823-1900  Search this
Darley, Felix Octavius Carr, 1822-1888  Search this
French, Daniel Chester, 1850-1931  Search this
Greenough, Horatio, 1805-1852  Search this
Harding, Chester, 1792-1866  Search this
Hassam, Childe, 1859-1935  Search this
Inman, Henry, 1801-1846  Search this
Inness, George, 1825-1894  Search this
McGuigan, John F., Jr. (John Fuller)  Search this
Morse, Samuel Finley Breese, 1791-1872  Search this
Neagle, John, 1796-1865  Search this
Palmer, Erastus Dow, 1817-1904  Search this
Peale, Rembrandt, 1778-1860  Search this
Peale, Rubens, 1784-1865  Search this
Tanner, Henry Ossawa, 1859-1937  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
White, Stanford, 1853-1906  Search this
Whittredge, Worthington, 1820-1910  Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1794-1938
Summary:
The collection of artists' letters compiled by Mary and John McGuigan Jr. measure 0.6 linear feet and date from 1794-1938. The collection is comprised of a group of letters, writings, and signed documents to and from a variety of artists, art administrators, art critics, historians, and art-related organizations assembled from multiple sources. It also includes associated printed material with some documents and a few photographs, including carte de visites and cabinet cards.
Scope and Contents:
The collection of artists' letters compiled by Mary and John McGuigan Jr. measure 0.6 linear feet and date from 1794-1938. The collection is comprised of a group of letters, writings, and signed documents to and from a variety of artists, art administrators, art critics, historians, and art-related organizations assembled from multiple sources. It also includes associated printed material with some documents and a few photographs, including carte de visites and cabinet cards.

Item descriptions included in the container listing were provided by Mary and John McGuigan and illuminate the wide range of artists and types of material represented in the collection. While some of the letters document routine transactions such as responses to requests for information, and transmittals of autographs, others document specific artist commissions and projects, exhibition and financial arrangements, business relationships, family events, and travels. The collection includes documentation of portrait painters, including Chester Harding and Rembrandt Peale; nineteenth century landscape artists and artists of the Hudson River School including Albert Bierstadt, George Henry Boughton, Samuel Colman, Jasper Francis Cropsey, and George Inness; sculptors including Daniel Chester French whose letters include sixty-three letters to Charles Dupuy, the caretaker of French's summer home in Massachusetts; publishers such as Mathew Carey, in letters from John Neagle; and the activities of arts institutions such as the Pennsylvania Academy of Fine Arts.

In addition to those mentioned above, letters and signed documents are from Washington Allston, William Holbrook Beard, Eugene Benson, William Tilden Blodgett, Jr., James Renwick Brevoort, Frederic Edwin Church, James Claghorn, John Singleton Copley, Kenyon Cox, F.O.C. Darley, Joseph DeCamp, Frank Duveneck, John Mackie Falconer, Horatio Greenough, Childe Hassam, Ignaz Michael Marcel Gaugengigl, George Healy, George Hollingsworth, William Morris Hunt, Daniel Huntington, Anna Vaughn Hyatt Huntington, Henry Inman, Hugh Bolton Jones, Thomas Dow Jones, Louis Ashton Knight, Charles Robert Leslie, Will Low, Frederick William MacMonnies, Frank Blackwell Mayer, Samuel F. B. Morse, Erastus Dow Palmer, Rubens Peale, Elizabeth Robins Pennell, Tobias (Toby) Edward Rosenthal, John Singer Sargent, George Henry Smillie, Marie Spartali Stillman, William James Stillman, Henry Ossawa Tanner, Abbott Handerson Thayer, Charles Yardley Turner, Stephen Arnold Douglas Volk, William Walcutt, Henry Antonio Wenzler, Benjamin West, Stanford White, Worthington Whittredge, and others.

The collection also includes a friendship album belonging to William Tilden Blodgett, Jr., with poems, sketches, and botanical watercolors, eight photographs including carte de visites and cabinet cards with images of George Hollingsworth, Thomas Dow Jones, Louis Ashton Knight, Henry Antonio Wenzler, and William Walcutt, and two photographs of a model used by Francis Blackwell Mayer when painting The Burning of the Peggy Stewart.
Arrangement:
The collection is arranged as 1 series.
Biographical / Historical:
Mary K. McGuigan and John F. McGuigan Jr. are art historians and collectors in Milford, Pennsylvania.
Provenance:
John F. McGuigan Jr. and Mary K. McGuigan purchased these letters and generously donated them to the Archives of American Art between 2000 and 2019. The McGuigans have purchased and donated additional archival materials to the Archives, including a portion of the Douglas Volk and Leonard Wells Volk papers. In 2017 the McGuigans donated an addition to the Sylvester Rosa Koehler papers, including sixty-nine letters from A. Barry, Truman Howe Bartlett, William Merritt Chase, Timothy Cole, Edward Henry Clement, Cyrus Edwin Dallin, Robert Swain Gifford, George Inness, Anna Lea Merritt, Stephen Parrish, John Sartain, Francis Hopkinson Smith, and Frederic Porter Vinton.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Historians  Search this
Topic:
Arts administrators  Search this
Art critics  Search this
Artists  Search this
Citation:
Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection, 1794-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mcgumary
See more items in:
Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-mcgumary

Hassam, Childe

Collection Creator:
McGuigan, Mary K.  Search this
Container:
Box 2, Folder 12
Type:
Archival materials
Date:
1904
Scope and Contents:
Childe Hassam, New York, 24 March 1904, to the novelist and playwright Louis Evan Shipman (1869-1933), Cornish, New Hampshire, regarding payment for a painting and an invitation to visit. Includes envelope.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection, 1794-1983. Archives of American Art, Smithsonian Institution.
See more items in:
Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection
Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection / Series 1: Mary K. McGuigan and John F. McGuigan Jr. Artists' Letters Collection
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-mcgumary-ref50

Emanuel Martinez papers

Creator:
Martinez, Emanuel, 1947-  Search this
Extent:
0.7 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Date:
1964-2015
Summary:
The papers of painter, muralist, and educator Emanuel Martinez measure 0.7 linear feet and date from 1964 to 2015. The collection is comprised of correspondence with Rodolfo "Corky" Gonzalez of the activist group Crusade for Justice; writings that include journal entries, essays about Mexican American youth, education, the artist Rini Templeton, community murals, and a presentation transcript about the sculpture Farm Workers' Altar; printed materials that include a bumper sticker and flyer designed by Martinez, photocopies of a poem and sketch by Martinez, and a book of writings on Mexican and Spanish Americans signed by George Garcia; photographs of Martinez as a child, in portraits, painting, and at events; and a scrapbook documenting the history of murals and Chicano art in Colorado through clippings and one letter of congratulations from former Representative Patricia Schroeder.
Scope and Contents:
The papers of painter, muralist, and educator Emanuel Martinez measure 0.7 linear feet and date from 1964 to 2015. The collection is comprised of correspondence with Rodolfo "Corky" Gonzalez of the activist group Crusade for Justice; writings that include journal entries, essays about Mexican American youth, education, the artist Rini Templeton, community murals, and a presentation transcript about the sculpture Farm Workers' Altar; printed materials that include a bumper sticker and flyer designed by Martinez, photocopies of a poem and sketch by Martinez, and a book of writings on Mexican and Spanish Americans signed by George Garcia; photographs of Martinez as a child, in portraits, painting, and at events; and a scrapbook documenting the history of murals and Chicano art in Colorado through clippings and one letter of congratulations from former Representative Patricia Schroeder.
Arrangement:
The collection is arranged as one series.

Series 1: Emanuel Martinez papers, 1964-2015 (Boxes 1-2; 0.7 linear feet)
Biographical / Historical:
Emanuel Martinez (1947- ) is a painter, muralist, and educator in Denver, Colorado.

Martinez was born in Denver where he spent a troubled youth until the age of 13. He was introduced to art through his lifelong friend and mentor Bill Longley who recognized Martinez's talent and arranged for an art apprenticeship. Martinez also studied with David A. Siqueiros and Francisco Zuniga, and at Metropolitan State College of Denver. In 1968 he established his studio.

As an artist, Martinez is deeply affected by social and political issues. He has been a member of the Chicano activist group Crusade for Justice and was active in the civil rights movement. In 1968, Martinez completed Farm Workers' Altar, a painted wooden sculpture, for the Catholic mass that was held on the day César Chávez completed a 25-day fast in his continuous struggle for social justice. Martinez also completed Tierra O Muerte for activist Reyes Lopez Tijerina. Other works by Martinez include a mural at Alma Center in Lincoln Park and a commissioned portrait of former U.S. Secretary of Transportation Federico Peña.

Martinez worked as an educator at the Student League of Denver for 12 years. He is also involved with the Emanuel Project, an organization named after Martinez that focuses on improving the lives of at-risk youth. With the organization, Martinez has completed approximately 50 murals with students all over the U.S.

Martinez has won numerous awards including the Latin American Educational Foundation scholarship and Mayor's Award for Excellence in the Arts. He has works in the permanent collections of the Smithsonian American Art Museum and the Museo de las Americas in Denver among others. His work was shown in the seminal exhibition Chicano Art Resistance and Affirmation, as well as many other national and international exhibitions.
Provenance:
The papers were donated by Emanuel Martinez in 2017.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Painters -- Colorado -- Denver  Search this
Topic:
Muralists -- Colorado -- Denver  Search this
Mural painting and decoration -- 20th century -- Colorado  Search this
Chicano movement -- Colorado  Search this
Genre/Form:
Photographs
Scrapbooks
Citation:
Emanuel Martinez papers, 1964-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.marteman
See more items in:
Emanuel Martinez papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-marteman

Emanuel Martinez papers

Collection Creator:
Martinez, Emanuel, 1947-  Search this
Extent:
0.7 Linear feet (Boxes 1-2)
Type:
Archival materials
Date:
1964-2015
Scope and Contents:
The papers of painter, muralist, and educator Emanuel Martinez measure 0.7 linear feet and date from 1964 to 2015. The collection is comprised of correspondence with Rodolfo "Corky" Gonzalez of the activist group Crusade for Justice; writings that include journal entries, essays about Mexican American youth, education, the artist Rini Templeton, community murals, and a presentation transcript about the sculpture Farm Workers' Altar; printed materials that include a bumper sticker and flyer designed by Martinez, photocopies of a poem and sketch by Martinez, and a book of writings on Mexican and Spanish Americans signed by George Garcia; photographs of Martinez as a child, in portraits, painting, and at events; and a scrapbook documenting the history of murals and Chicano art in Colorado through clippings and one letter of congratulations from former Representative Patricia Schroeder.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Citation:
Emanuel Martinez papers, 1964-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.marteman, Series 1
See more items in:
Emanuel Martinez papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-marteman-ref1

Giovanni Martino Papers

Collection Creator:
Martino, Giovanni, 1908-1998  Search this
Extent:
1.4 Linear feet (Boxes 1-2, 4)
Type:
Archival materials
Date:
1944-2001
Scope and Contents:
Giovanni Martino's papers include scattered biographical material, such as awards and curriculum vitae; a small amount of correspondence documenting awards, sales, and exhibition of his artwork; and exhibition catalogs, news clippings, and other printed material documenting his career and the activities of the Martino family. Photographs include portraits of Martino as well as family photographs of Martino as a child, with his brothers, and with his wife and children. A few photographs depict Martino painting outdoors. Also found are figure and landscape drawings on paper by Martino. Some of his early drawings are signed with the alias "M. Giovanni." One scrapbook contains letters, news clippings, exhibition publications, and photographs.
Arrangement:
This series is arranged as 6 subseries.

1.1: Biographical Material, 1944-2001

1.2: Correspondence, 1942-1983

1.3: Printed Material, 1930s-2010

1.4: Photographs, 1915-1990s

1.5: Artwork, 1913-1980s

1.6: Scrapbook, 1933-1959
Collection 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.
Collection Rights:
The Giovanni Martino and Martino 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:
Giovanni Martino and Martino family papers, 1913-2013. Archives of American Art, Smithsonian Institution..
Identifier:
AAA.martgiov, Series 1
See more items in:
Giovanni Martino and Martino family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-martgiov-ref1

Nina Martino Papers

Collection Creator:
Martino, Giovanni, 1908-1998  Search this
Extent:
0.5 Linear feet (Box 2)
Type:
Archival materials
Date:
1942-2013
Scope and Contents:
Nina Martino's papers include documentation on exhibitions, including a retrospective of her work entitled "Illumined Solitude," special events, records of her work as a student at Temple University, and awards. Also found are childhood drawings and ink drawings of figures and animals, as well as watercolor and ink illustrations. Photographs depict Nina as a child, with her family, and her artwork.
Collection 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.
Collection Rights:
The Giovanni Martino and Martino 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:
Giovanni Martino and Martino family papers, 1913-2013. Archives of American Art, Smithsonian Institution..
Identifier:
AAA.martgiov, Series 3
See more items in:
Giovanni Martino and Martino family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-martgiov-ref3

Babette Martino Papers

Collection Creator:
Martino, Giovanni, 1908-1998  Search this
Extent:
0.4 Linear feet (Boxes 2-3)
Type:
Archival materials
Date:
1945-2013
Scope and Contents:
Found here are the papers documenting Babette Martino's career as a painter, including awards, professional correspondence, fellowship records, exhibition catalogs, publications, and a portfolio containing images of her work. Additionally, her papers include a few personal items such as her baby book and photographs depicting Babette as a child, with family, and at events.
Collection 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.
Collection Rights:
The Giovanni Martino and Martino 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:
Giovanni Martino and Martino family papers, 1913-2013. Archives of American Art, Smithsonian Institution..
Identifier:
AAA.martgiov, Series 4
See more items in:
Giovanni Martino and Martino family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-martgiov-ref4

Marilyn Pearl Gallery records

Creator:
Marilyn Pearl Gallery  Search this
Names:
Allain, René Pierre, 1951-  Search this
Chaet, Bernard  Search this
Freeman, Joseph  Search this
Greene, Stephen, 1918-1999  Search this
Hill, Clinton, 1922-2003  Search this
Lasch, Pat  Search this
Loew, Michael, 1907-1985  Search this
Lutz, Winifred  Search this
McShea, Jim  Search this
Miles, Jeanne Patterson, 1908-1999  Search this
Pearson, Henry, 1914-2006  Search this
Perez, Pedro  Search this
Robin, Stephen, 1944-  Search this
Von Wiegand, Charmion  Search this
Weiner, Ellen  Search this
Extent:
7.4 Linear feet
Type:
Collection descriptions
Archival materials
Visitors' books
Photographs
Date:
1925-2000
bulk 1976-1993
Summary:
The records of the Marilyn Pearl Gallery are dated 1925-2000, with the bulk of the ematerial from the period 1976-1993. The collection measures 7.4 linear feet and consists of artists' files, exhibition files, and business records documenting affiliated artists and gallery activities.
Scope and Content Note:
The records of the Marilyn Pearl Gallery are dated 1925-2000, with the bulk of the ematerial from the period 1976-1993. The collection measures 7.4 linear feet and consists of artists' files, exhibition files, and business records documenting affiliated artists and gallery activities.

Artist files are found for: René Pierre Allain, Bernard Chaet, Stephen Greene, Clinton Hill, Pat Lasch, Michael Loew, Winifred Lutz, Jim McShea, Jeanne Miles, Henry Pearson, Pedro Perez, Stephen Robin, Charmion von Wiegand, and Ellen Weiner. They contain the following types of records in varying combinations: correspondence with the artist, collectors, galleries and museums; printed material including publicity, exhibition catalogs and announcements of Marilyn Pearl Gallery and other venues; photographs; financial records concerning sales and exhibition expenses. In general, items dated prior the gallery's existence and after its closing are printed material relating to the artist. A notable exception is the small number of the personal papers of Charmion von Wiegand that include letters from her husband, writer and editor Joseph Freeman.

Exhibition files are arranged chronologically by exhibition date, 1977, 1980-1992 and consist of correspondence, invoices, printed material, publicity, and photographs.

Business records document the routine affairs of the gallery. Included are client correspondence, inventory cards (work in stock, pieces returned to artists, and works sold), a nearly complete set of invoices for gallery sales for the period 1976-1986, consignment records, appraisals, mailing lists, guest books, and records regarding Basel Art Fairs of 1989-1993.
Arrangement:
The collection is arranged as 3 series:

Series 1: Artists' Files, 1925-2000 (Boxes 1-4; 3.6 linear ft.)

Series 2: Exhibition Files, 1973-1992 (Boxes 4-5; 1.15 linear ft.)

Series 3: Business Records, 1976-2000 (Boxes 5-8; 2.65 linear ft.)
Historical Note:
The Marilyn Pearl Gallery (est. 1976-circa 1993) was an art gallery in New York, N.Y. specializing American art from the 1920s-1950s.

Marilyn Pearl (Mrs. Alan Loesberg), the daughter and granddaughter of art collectors from Akron and Cleveland, Ohio, as a young child began developing an appreciation for and true love of art. After a stint as a history teacher, Ms. Pearl was determined to establish her own gallery. With help from family, her dream became a reality when the Marilyn Pearl Gallery opened at 29 West 57th Street, New York, in 1976. In 1982, the gallery relocated to 38 East 57th Street, and in 1987 moved to 420 West Broadway in SoHo. Although the gallery closed in the early 1990s, Ms. Pearl continued to operate as a private dealer and expanded her activities to international art fairs, among them the Basel Art Fair.

Among the artists represented by the gallery were: Bernard Chaet, Stephen Greene, Clinton Hill, Pat Lasch, Michael Loew, Winifred Lutz, Jim McShea, Jeanne Miles, Henry Pearson, Pedro Perez, Stephen Robin, Charmion von Wiegand, and Ellen Weiner.

Pearl's first sales were works by sculptor Winifred Lutz, known for site-specific installations. Ms. Lutz remained part of Marilyn Pearl Gallery's stable throughout its history. In addition to emerging artists, Marilyn Pearl also was interested in traditional art forms, and eventually specialized in exhibiting American art from the 1920s-1950s, with particular emphasis on geometric abstraction. In addition, Marilyn Pearl Gallery presented a number of exhibitions exploring WPA era murals, American Abstract Artists, and post-war figurative work. By the 1980s, the gallery's annual schedule usually featured summer shows of new talent; several artists first introduced in this manner developed long-term relationships with Marilyn Pearl Gallery.
Provenance:
Marilyn Pearl donated the records of her gallery to the Archives of American Art in 2002.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Marilyn Pearl Gallery 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 galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Visitors' books
Photographs
Citation:
Marilyn Pearl Gallery records, 1925-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.maripeag
See more items in:
Marilyn Pearl Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-maripeag
Online Media:

Joseph F. McCrindle papers

Creator:
McCrindle, Joseph F.  Search this
Names:
Henfield Foundation  Search this
Joseph F. McCrindle Foundation  Search this
Benedict, Pinckney, 1964-  Search this
DuBourg, Antoine  Search this
Feder, Edith Mosler  Search this
Feder, Joseph Fuller  Search this
Levey, Michael  Search this
Lowe, John  Search this
Moffett, Odette Feder  Search this
Sewell, Brian  Search this
Extent:
5.3 Linear feet
Type:
Collection descriptions
Archival materials
Blueprints
Photographs
Date:
1877-2013
Summary:
The papers of New York art collector and philanthropist, Joseph F. McCrindle, measure 5.3 linear feet and date from 1877-2013. The collection documents McCrindle's art collecting, art donations, philanthropy, family affairs, and personal estate. Found are extensive art inventories, sales receipts, gift and loan documentation, and photographs of artwork. The papers also include Joseph McCrindle's estate records and wills, family papers, records from the Joseph F. McCrindle Foundation, correspondence with museums and galleries, and photographs of McCrindle and family members.
Scope and Contents:
The papers of New York art collector and philanthropist, Joseph F. McCrindle, measure 5.3 linear feet and date from 1877-2013. The collection documents McCrindle's art collecting, art donations, philanthropy, family affairs, and personal estate. Found are extensive art inventories, sales receipts, gift and loan documentation, and photographs of artwork. The papers also include Joseph McCrindle's estate records and wills, family papers, records from the Joseph F. McCrindle Foundation, correspondence with museums and galleries, and photographs of McCrindle and family members.

Biographical and family materials include McCrindle's obituary, copies of printed programs from his memorial service, and legal documents dealing with his will. There are papers dealing with his grandparents, Joseph Fuller Feder and Edith Mosler Feder, his mother, Odette Feder Moffett, and blueprints and paperwork for his grandfather's yacht, the M.Y. Kihna.

Materials from the Joseph F. McCrindle Foundation include the certificate of incorporation for the Henfield Foundation, change of name documentation to rename it the Joseph F. McCrindle Foundation, by-laws for the organization, waiver notices for special called meetings, minutes for annual and special meetings, financial statements, and gift lists. McCrindle corresponded heavily with various museums and galleries. Also found are letters from family, friends, and colleagues, such as Michael Levey, Brian Sewell, and Pinckney Benedict. Legal correspondence concerns McCrindle's estate. Sympathy and condolences are addressed to John Rowe on the occasion of Joseph McCrindle's death.

Personal business records concern McCrindle's art collection, sales, bequests, and his estate. The art collection is documented in extensive art inventories and lists, most of which is found in two large dismantled notebooks. Sales receipts are also found for McCrindles purchases as early as 1942. There are artwork appraisals, and documentation of McCrindle's gifts and loans of artwork to museums and galleries. There are early receipts and invoices for rare books, decorative items, antiques, and artwork purchases by Joseph and Edith Feder, McCrindle's grandparents.

Printed material includes a copy of the text, Old Master Drawings from the Collection of Joseph F. McCrindle, donor reports, exhibition catalogs, clippings, assorted bulletins and newsletters, and programs from live performances.

Loose photographs are of Joseph McCrindle, from early childhood through adulthood. There are also photographs of his family, including his grandparents, Joseph and Edith Feder, his mother, Odette Feder Moffett, and his half brother, Antoine DuBourg. There are photo albums containing images of McCrindle as a child; of his mother as a child; family and travel photographs; and photographs taken during cruises on the family yacht, M.Y. Kihna. Three of the albums are dedicated to Kihna travels.
Arrangement:
The collection is arranged into six series:

Series 1: Biographical and Family Material, 1913-2008 (0.5 linear feet; Box 1, OV 9)

Series 2: Correspondence, 1946-2012 (0.3 linear feet; Box 1)

Series 3: Personal Business Records, circa 1919-2010 (2.0 linear feet; Box 1-3)

Series 4: Joseph F. McCrindle Foundation Records, 1958-2012 (0.3 linear feet; Box 3)

Series 5: Printed Material, 1899-2013 (0.4 linear feet; Box 4)

Series 6: Photographic Material, 1877-2006 (1.8 linear feet; Box 4-6)
Biographical / Historical:
Lifelong resident of New York City, Joseph Feder McCrindle (1923-2008) was a collector, art patron, publisher, and philanthropist. He founded the Transatlantic Review and The Henfield Foundation.

Born to John Ronald McCrindle and Odette Feder McCrindle on March 27, 1923, Joseph McCrindle was exposed to art appreciation at an early age. After his parents were divorced in 1924 and his mother remarried in 1928, he was raised primarily by his grandparents, Joseph F. Feder and Edith Mosler Feder. Summers were spent abroad in Europe, courtesy of the family yacht, where he developed his knowledge of art history and studied foreign languages.

McCrindle attended the St. Paul's School in Manhattan, followed by Harvard University, graduating in 1944. During World War II, McCrindle served with the Office of Strategic Services in London, where he attained the rank of first lieutenant. He went on to receive a law degree from Yale University in 1948.

After working briefly in the publishing world, McCrindle became a literary agent. In 1959, he started the Transatlantic Review, a London-based literary journal. He remained in place as editor and publisher until the company closed in 1977.

The Henfield Foundation, now known as the Joseph F. McCrindle Foundation, was established by McCrindle in 1958 to provide grants to organizations focused on the development of art, music, and social justice.

Joseph McCrindle was a notable art collector and donated and loaned many works of art to museums and galleries. McCrindle amassed 2,500 old master drawings in his lifetime, in addition to Italian baroque paintings, 19th-century drawings, British artwork, and more . Some examples of gifts and loans documented in the McCrindle papers include an extended a loan of John Singer Sargent's Landscape With Two Women in Foreground to the Yale Center for British Art in 1982, Salvator Rosa's The Torment of Tityus to the Museum and Art Gallery of Stanford University in 1992, and Luca Giordano's Saint Barnabas to the Fine Arts Museum of San Francisco in 2002.

Joseph McCrindle died on July 11, 2008. His collection was bequeathed to a number of institutions across the nation, such as the Brooklyn Museum, the National Gallery of Art, and the Metropolitan Museum of Art.
Related Materials:
The bulk of Joseph F. McCrindle's papers are housed at Columbia University Rare Book and Manuscript Library.
Provenance:
The Joseph F. McCrindle papers were donated in 2012-2013 by Joseph F. McCrindle via John Rowe, president and CEO of the Joseph F. McCrindle Foundation.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Joseph F. McCrindle 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.
Occupation:
Philanthropists -- New York (State) -- New York  Search this
Topic:
Art -- Collectors and collecting -- New York (State) -- New York  Search this
Genre/Form:
Blueprints
Photographs
Citation:
Joseph F. McCrindle Papers, 1877-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mccrjose
See more items in:
Joseph F. McCrindle papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-mccrjose
Online Media:

Michael Mazur papers

Creator:
Mazur, Michael, 1935-2009  Search this
Names:
Provincetown Fine Arts Work Center  Search this
Mazur, Gail  Search this
Extent:
22.2 Linear feet
22.83 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Drawings
Sketchbooks
Diaries
Interviews
Date:
circa 1936-2016
Summary:
The papers of artist Michael Mazur measure 22.2 linear feet and 22.83 gigabytes, and date from circa 1936 to 2016, documenting a studio and exhibition practice in addition to teaching and activism activities in both paper and digital formats in the following series: biographical materials, correspondence, studio records, gallery records, project records, affiliations, exhibition records, writings, printed materials, photographic materials, and artwork.
Scope and Contents:
The papers of artist Michael Mazur measure 22.2 linear feet and 22.83 gigabytes, and date from circa 1936 to 2016, documenting a studio and exhibition practice in addition to teaching and activism activities.

Biographical materials include documents related to Mazur's early education, trips to Europe, and development as an artist, as well as biographies, degrees and awards, with some materials in digital formats.

Correspondence is primarily professional in nature with institutions and fellow artists, including letters requesting Mazur's participation in exhibitions and other projects. Also included are extensive correspondence advocating for ecological preservation of the Massachusetts Cape Cod where Mazur had a home in Provincetown. Earlier correspondence includes letters with family members and friends. Some correspondence is digital.

Studio records include artwork inventories and documents regarding donations, appraisal and tax deduction information, as well as the artist's website. Gallery records contain correspondence and business documents with various commercial art galleries, including artwork images, mailing lists, price lists and guest books. Project records document various commissions and collaborations including perhaps Mazur's longest ongoing project, artwork, publications and exhibitions engaging with Dante's Inferno. Many of Mazur's professional records are in digital format.

The Affiliations series includes faculty appointments as well as ongoing board service for Fine Arts Work Center in Provincetown and other professional advising and project participation, including a Tamarind Lithography Workshop Fellowship in 1968. Many of the Fine Arts Work Center documents are digital.

Exhibition records document select exhibitions including Mazur's traveling print retrospective. In addition to correspondence and documents and agreements, select digital installation images and documents are also included.

The Writings series includes various essays, letters to the editor, and lectures by Mazur including student work, as well as essays and films discussing the artist's career and contributions, many in digital form. Also included are Mazur's journals kept for the entirety of his career.

Printed materials include exhibition announcements, catalogs and press, select published journals (some of which include contributions by Mazur), and publications for which Mazur has provided the cover artwork.

Photographic materials are both print and digital in nature and capture the breadth of Mazur's art production, organized by medium, genre, artwork series, subject and time period. The arrangement of digital photographs reflects the categories represented on the artist's website archive.

Artwork includes drawings, sketchbooks and watercolor pads, as well as artwork by others including a photographic portrait portfolio of Mazur by Brigitte Durer. Computer study images and source material in digital formats, are also included.
Arrangement:
The collection is arranged as 11 series.

Series 1: Biographical Material, circa 1953-2006 (0.5 Linear Feet: Boxes 1, 21; 0.014 Gigabytes: ER001-ER002)

Series 2: Correspondence, circa 1940-2011 (3.8 Linear Feet: Boxes 1-4, 21, OV23; 0.008 Gigabytes: ER003)

Series 3 : Studio Records, circa 1962-2009 (1 Linear Feet: Box 5; 0.082 Gigabytes: ER004-ER006)

Series 4: Gallery Records, circa 1967-2009 (2 Linear Feet: Boxes 6-7; 0.028 Gigabytes: ER007-ER009)

Series 5: Project Records, circa 1983-2008 (1.3 Linear Feet: Boxes 8-9; 0.3 Gigabytes: ER010-ER015)

Series 6: Affiliations, circa 1966-2008 (0.7 Linear Feet: Box 9; 0.101 Gigabytes: ER016-ER019)

Series 7: Exhibition Records, circa 1958-2008 (0.7 Linear Feet: Box 10; 1.07 Gigabytes: ER020-ER032)

Series 8: Writings, circa 1952-2009 (2.7 Linear Feet: Boxes 10-13; 4.75 Gigabytes: ER033-ER052)

Series 9: Printed Material, circa 1945-2016 (2.1 Linear Feet: Boxes 13-15; 0.114 Gigabytes: ER053-ER054)

Series 10: Photographic Material, circa 1936-2016 (5.9 Linear Feet: Boxes 15-22, OV25-28; 14.26 Gigabytes: ER055-ER114)

Series 11: Artwork, circa 1941-2009 (0.4 Linear Feet: Boxes 20, 22; 2.1 Gigabytes: ER115-ER116)
Biographical / Historical:
Michael Mazur (1935-2009) was a prolific printmaker, painter, draughtsman, sculptor, and educator in Cambridge, Massachusetts, who beyond working across media, treated an equally diverse set of subjects in abstract and figurative traditions.

As a child in New York City's Upper East Side Mazur received an early art education at the Bronx's Horace Mann School. He received a bachelor's degree from Amherst College, as well as a bachelor's and master's degrees at the Yale School of Art. Mazur has held teaching positions at Rhode Island School of Design and Brandeis University, as well as a recurring visiting artist position at Harvard University's Carpenter Center. While attending Yale Mazur met his wife, poet Gail Mazur.

Mazur's work is held in museums and private collections throughout the world and has been exhibited widely at institutions including MoMA, The Whitney Museum of American Art, The Brooklyn Museum, and the Metropolitan Museum of Art. In 2000 the Museum of Fine Arts, Boston launched a retrospective of Michael Mazur's prints traveling to various institutions including the the Minneapolis Art Institute and Stanford's Cantor Center. On the occasion of the show Hudson Hills Press published The Prints of Michael Mazur including a catalogue raisonné. A notable collaboration in Mazur's career drew from his career-long fascination with Dante. In 1993, Farrar, Straus and Giroux published The Inferno of Dante, translated by Robert Pinsky and illustrated with reproductions of monotypes by Michael Mazur. Later Mazur published an editioned suite of forty-one etchings, which was shown in various locations in Italy and throughout the United States.

In addition to their home in Cambridge, Michael and Gail maintained a home in Provincetown, Massachusetts, where they were deeply involved in the artistic community including the Fine Arts Work Center, as well as environmental issues impacting the region of Cape Cod. He is survived by his wife and his two children Kathe and Dan.
Provenance:
Papers were lent for microfilming 1977 and 1998 by Michael Mazur. Material on microfilm and additional papers donated 2018 by Gail Mazur, Michael Mazur's widow.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Printmakers -- Massachusetts  Search this
Painters -- Massachusetts  Search this
Educators -- Massachusetts  Search this
Genre/Form:
Drawings
Sketchbooks
Diaries
Interviews
Citation:
Michael Mazur Papers, circa 1936-2016. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mazumich
See more items in:
Michael Mazur papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-mazumich

Child Labor

Collection Creator:
McCausland, Elizabeth, 1899-1965  Search this
Container:
Box 22, Folder 24
Type:
Archival materials
Date:
circa 1938-1942
Collection 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.
Collection Rights:
The Elizabeth McCausland 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:
Elizabeth McCausland papers, 1838-1995, bulk 1920-1960. Archives of American Art, Smithsonian Institution.
See more items in:
Elizabeth McCausland papers
Elizabeth McCausland papers / Series 7: Other Research and Writing Files / 7.2: Lewis Hine / Photographs as Art
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-mccaeliz-ref805

Personal and Family Photographs

Collection Creator:
McCoy, Esther  Search this
Type:
Archival materials
Date:
circa 1876-1989
Scope and Contents note:
Found here are photographs of McCoy, her family, and friends. Included are many portraits and snapshots of McCoy, as a child and adult, as well as snapshots of her with her sister Ruth, other family members, her husband Berkeley Tobey, and various friends. Also found are photographs of McCoy and Tobey family members, dating back to the 1870s. Most photographs of family and friends are unidentified. Included are photographs of her colleague and editor of Arts and Architecture, John Entenza; photographs of artist Margeurite Wildenhain at Pond Farm; and photographs of Theodore Dreiser, Albert (Tim) Robert, Ray Eames, John Collier, and Reyner Banham.

This subseries also includes three photograph albums. One album contains photographs of McCoy from the age of 12 to 16, her sister Ruth, and childhood friends and family. The other two albums document awards dinners honoring McCoy. The Vesta Awards album also serves as a guest book for the event and includes photographs of each guest and brief handwritten notes to McCoy.
Collection Restrictions:
Use of original papers requires an appointment. Use of audiovisual recordings without access copies requires advance notice.
Collection Rights:
The Esther McCoy 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:
Esther McCoy papers, circa 1876-1990, bulk 1938-1989. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mccoesth, Subseries 9.1
See more items in:
Esther McCoy papers
Esther McCoy papers / Series 9: Photographs and Slides
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-mccoesth-ref1098

Macbeth Gallery records

Creator:
Macbeth Gallery  Search this
Names:
Hartley, Marsden, 1877-1943  Search this
Homer, Winslow, 1836-1910  Search this
Macbeth, Robert W. (Robert Walker), 1884-1940  Search this
Macbeth, William, 1851-1917  Search this
McIntyre, Robert G. (Robert George), b. 1885  Search this
Stuart, Gilbert, 1755-1828  Search this
Weir, Robert Walter, 1803-1889  Search this
Extent:
131.6 Linear feet
Type:
Collection descriptions
Archival materials
Daguerreotypes
Photographs
Scrapbooks
Date:
1947-1948
1838-1968
bulk 1892-1953
Summary:
The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. Through extensive correspondence files, financial and inventory records, printed material, scrapbooks, reference and research material, and photographs of artists and works of art, the records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.
Scope and Content Note:
The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. The records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.

The gallery's correspondence files form the core of the collection and illuminate most aspects of American art history: the creation and sale of works of art, the development of reputations, the rise of museums and art societies, change and resistance to change in the art market, and the evolution of taste. Ninety-five feet of correspondence house substantial and informative letters from dozens of important American painters and sculptors, including older artists and younger contemporaries of the gallery in its later years. There are also letters from collectors, curators, other galleries, and critics.

The financial files found in the collection offer insight into the changing economic climate in which the gallery operated. They include information ranging from the details of individual sales and the market for individual artists, to consignment activities and artist commissions, to overviews of annual sales. This information is augmented by the firm's inventory records and the photographs of artwork with their accompanying records of paintings sold. The inventory records provide details of all works of art handled by the gallery, both sold and unsold, and the buyers who purchased them; the photographs of artwork include images of artwork sold with accompanying sales information.

The highlight of the gallery's printed material is the publication Art Notes. Although published only until 1930, Art Notes provides an excellent and detailed view of the gallery's exhibition schedule and the relationship of the gallery owners with many of the artists whose work they handled. It was a house organ that also provided a running commentary on events in the art world. The gallery's 19 fragile scrapbooks, maintained throughout the firm's history, provide further coverage of activities through exhibition catalogs and related news clippings. Printed material from other sources provides a frame of reference for activities in the art world from the mid-19th to the mid-20th-centuries and includes an almost complete run of the rare and important pre-Civil War art publication The Crayon.

Reference files record the interest which the gallery owners took in the work of early portrait painters and in later artists such as George Inness and Winslow Homer. Together with the immense volume of correspondence with buyers and sellers of paintings by the great portraitists and the Hudson River School found in the gallery's correspondence files, these records are still useful sources of information today and underscore the deep interest that the Macbeths and Robert McIntyre took in 18th and 19th-century American art.

The photographs of artists found here are a treasure trove of images of some of the major figures of the 19th and 20th-centuries. There are photographs of artists such as Chester Beach, Emil Carlsen, Charles Melville Dewey, Frederick Carl Frieseke, Childe Hassam, Winslow Homer, George Inness, Maurice Prendergast, and Julian Alden Weir, many of them original prints and the majority of them autographed.

With the exception of the "The Eight" and a few of their contemporaries, an important aspect of art history, the modernist movement, is generally represented in the Macbeth Gallery records only in a negative form as the three successive proprietors of the gallery showed very little interest in this area. Nevertheless, the collection is a highly significant source of information on many of the major and minor figures in American art in the period after 1890.
Arrangement:
The collection is arranged into eight series:

Series 1: Correspondence, 1838-1968 (Box 1-95, 163-164, OV 165; 96.2 linear feet)

Series 2: Financial and Shipping Records, 1892-1956 (Box 96-110; 11.8 linear feet)

Series 3: Inventory Records, 1892-circa 1957 (Box 111-113; 3.0 linear feet)

Series 4: Printed Material, 1838-1963 (Box 114-119, 162; 5.0 linear feet)

Series 5: Scrapbooks, 1892-1952 (Box 120-130; 3.3 linear feet)

Series 6: Reference Files, 1839-1959 (Box 131-132; 0.6 linear feet)

Series 7: Miscellaneous Files, 1912-1956 (Box 133-134; 0.8 linear feet)

Series 8: Photographs, circa 1880-circa 1968 (Box 135-161; 12.1 linear feet)
Historical Note:
The Macbeth Gallery was established in 1892 by William Macbeth, a Scotch-Irish immigrant who had spent ten years with the print dealer Frederick Keppel before he opened his doors to the art-buying public at 237 Fifth Avenue in New York. Despite the prevailing interest in foreign art at that time, particularly in that of the Barbizon and Dutch schools, Macbeth was determined to dedicate his gallery to "the permanent exhibition and sale of American pictures, both in oil and water colors."

Although some of the gallery's earliest exhibitions were of work by European artists, the business soon became the only gallery in continuous operation to keep American art permanently on display. In the January 1917 issue of Art Notes, Macbeth recounts those early days remembering that "The opening of my gallery......was a rash venture under the existing conditions, and disaster was freely predicted." Nevertheless, he struggled through the financial crisis of 1893 and persisted with his devotion to American art; slowly the market for his pictures grew more amenable.

Macbeth moved to more spacious quarters at 450 Fifth Avenue in 1906 and two years later undertook what was to become the major event in the gallery's early history: the 1908 exhibition of "The Eight," featuring work by Arthur B. Davies, Willam J. Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, and John Sloan. "The Eight" were an unlikely combination of social realists, visionaries and impressionists eager to challenge the dominating influence of the National Academy. The exhibition received an immense amount of publicity and instantly entered into art history as a successful assault on tradition.

Despite the splash that the exhibition made and its implications for the future of American art, nothing that the gallery did subsequently indicated that Macbeth intended to capitalize on its significance. It is true that Macbeth supported many artists later considered leaders in American art when the public would pay no attention to them because of their modernist tendencies; Arthur B. Davies, Paul Dougherty, Maurice Prendergast, Theodore Robinson, and F. Ballard Williams all held their first exhibitions at his gallery. Nevertheless, neither Macbeth nor the gallery's two successive proprietors, Robert G. McIntyre (William's nephew) and Robert Macbeth (William's son), who joined the gallery in 1903 and 1906 respectively, ever developed a true interest in modern art. The November 1930 issue of Art Notes summarizes their collective disdain for modernism, stating: "We believe that, by and large, modern art is amusing. We are heretical enough to believe that much of it was started for the amusement of its creators and that no one was more surprised than they when it was taken seriously by a certain audience to whom the bizarre and the unintelligible always makes an appeal." So while the Macbeths and McIntyre cetainly championed American artists and insisted they deserved as much recognition as the Europeans, their deepest and most abiding interest was undoubtedly the established artists of the 18th and 19th-centuries and those of the early 20th-century who continued in a more conservative style. Artists such as Emil Carlsen, Charles Harold Davis, Frederick C. Frieseke, Robert Henri, Winslow Homer, Chauncey F. Ryder, Abbot Handerson Thayer, J. Francis Murphy, A. H. Wyant were the gallery's bread and butter.

When William Macbeth died in 1917 Robert Macbeth took up the reins with the assistance of Robert G. McIntyre . Although they incorporated the business as William Macbeth, Inc., in 1918 the gallery continued to be known, as it always would be, simply as Macbeth Gallery. Macbeth and McIntyre continued to show work in the same vein as the elder Macbeth. They concentrated primarily on oil paintings at this time, having found by the 1920s that "oils are all that our gallery owners will buy," though they also exhibited an occasional group of watercolors and pastels in addition to bronzes and other sculpture by contemporary American artists such as Chester Beach and Janet Scudder.

Of the early American painters the Macbeths and McIntyre were particularly interested in colonial portraits and miniatures, especially those painted by prominent artists in the latter part of the eighteenth century such as John Singleton Copley, Gilbert Stuart, Thomas Sully and John Trumbull. In its early years the gallery also handled the work of a few prominent American etchers including Frank W. Benson, Emil Fuchs, Daniel Garber, Childe Hassam and Chauncey F. Ryder. The print department was generally discontinued, however, in the late 1930s although the gallery continued to show prints by contemporaries such as Stow Wengenroth.

In 1924 relative prosperity allowed the gallery to move uptown to 15 East Fifty-seventh Street. When the 1930s brought new financial hardship for the gallery Macbeth and McIntyre took a variety of approaches to boosting sales. In 1930 they decided to hold only group exhibitions throughout the season to the exclusion of one-man shows, and also held some special exhibitions of paintings priced at a hundred dollars each in the hope that they could tempt those "willing to take advantage of a rare chance to secure representative examples of good art at a most attractive price." A move to smaller quarters at 15 East Fifty-seventh Street in 1935 was made with the intention of concentrating their efforts on the work of fewer contemporary artists, while continuing to handle the work of the older Americans they had long supported.

When Macbeth died suddenly and unexpectedly in August 1940 following an operation for appendicitis, McIntyre continued to run the gallery with the assistance of Hazel Lewis. During the 1940s McIntyre and Lewis showed primarily contemporary art in a wide range of media including oil, watercolor, pastel, drawing and sculpture, while continuing, as always, to show the occasional group of 19th-century Americans. The great success of the gallery's later years was undeniably Andrew Wyeth whose first exhibition, held at Macbeth Gallery in 1937, resulted in the sale of all twenty-two paintings cataloged.

Although subsequent Wyeth exhibitions were also successful, McIntyre struggled financially throughout the 1940s and periodically considered liquidating the company. Although "vitally interested" in contemporary art by people such as Robert Brackman, Jay Connaway, Carl Gaertner, James Lechay, Herbert Meyer and Ogden M. Pleissner he found that, for the most part, it did not pay. McIntyre continued operations until 1953 when he decided that doing so for profit was not only a financial burden but also ran contrary to his desire to spend more time devoted to his first love, early American art. When the lease expired on 11 East Fifty-seventh Street in April 1953 McIntyre did not renew it. After closing the gallery's doors he sold art from his New York apartment and from his home in Dorset, Vermont. He officially dissolved William Macbeth, Inc., in 1957.

The history of the Macbeth Gallery is a long and distinguished one with each successive proprietor making a significant contribution to art in America. William Macbeth helped establish an audience and a market for American art when few were willing to give it serious consideration. Robert Macbeth continued to cement the gallery's reputation as one of the leading firms in New York and was instrumental in organizing the American Art Dealers Association. Robert G. McIntyre claimed in a letter to Lloyd Goodrich, dated 22 June 1945, that the thing of which he was most proud was "the share I have had in the formation of the collection of the Addison Gallery of American Art, at Andover, Massacusetts." McIntyre was widely respected in the art community as a dealer, as an adviser to curators, and as a scholar whose research and book on Martin Johnson Heade helped "rediscover" an important American artist. One of his most significant and lasting contributions to the history of art in America, however, was undoubtedly his gift of the gallery's historical records to the Archives of American Art.
Related Material:
Among the holdings of the Archives of American are a small collection of scattered Robert McIntyre's papers and 9 items of William Macbeth's papers. Macbeth Gallery exhibition catalogs are also available in the American Art Exhibition Catalog collection and the Brooklyn Museum Records, both loaned and microfilmed collections.

An extensive collection of Macbeth Gallery exhibition catalogs are also held by the Frick Art Reference Library and the Watson Library of the Metropolitan Museum of Art.
Provenance:
The bulk of the Macbeth Gallery records were donated and microfilmed in several installments between 1955 and 1966 by Robert G. McIntyre and Estate. Additional Macbeth Gallery printed material was donated by Phoebe C. and William Macbeth II, grandchildren of William Macbeth, in 1974.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Fragile original scrapbooks are closed to researchers.
Rights:
The Macbeth Gallery 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:
Curators -- New York (State) -- New York  Search this
Eight (Group of American artists)  Search this
Art directors -- New York (State) -- New York  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Artists -- United States  Search this
Art -- Collectors and collecting  Search this
Art, American  Search this
Art dealers -- New York (State) -- New York  Search this
Genre/Form:
Daguerreotypes
Photographs
Scrapbooks
Citation:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.macbgall
See more items in:
Macbeth Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-macbgall
Online Media:

Photographs of Artists

Collection Creator:
Macbeth Gallery  Search this
Container:
Box 135
Type:
Archival materials
Date:
ca. 1880-ca. 1968
Scope and Contents note:
This subseries contains a rich collection of photographs of many of the artists whose work was handled by the Macbeth Gallery. As revealed in the gallery's correspondence files, artists occasionally wrote to the gallery enclosing pictures for what was known as Macbeth's "Rogue Gallery," presumably a file of photographs maintained for publicity purposes. A substantial number of the photographs are original silver gelatin and platinum prints; there are also several daguerrotypes and an original photo postcard. Many of the photographs are autographed and some are addressed to the gallery. Many of the photographs were taken by commerical studios such as Alman & Co., De Vos, Haeseler, and Peter A. Juley, and several were taken by Gertrude Käsebier.

The photographs are arranged alphabetically by artist with two group photographs at the end of the subseries showing a group of artists in the Sherwood Studio Building in 1889 (Willard Allen, Carleton Chapman, Herbert Denham, Sam Isham, Willard Metcalf, Robert Reid, Robert Van Boskerck, Thomas Sullivant, and Harry Watrous); and the group of artists known as "The Ten" (Frank W. Benson, William Merritt Chase, Joseph R. DeCamp, T. W. Dewing, Childe Hassam, W. L. Metcalf, Robert Reid, Edward Simmons, Edmund C. Tarbell and Julian Alden Weir) taken in 1908 on the occasion of their exhibition at Durand-Ruel, Inc. Folders may contain original prints in addition to copy prints and any accompanying or identifying information. The photographs of artists have been digitally scanned and may be viewed on the AAA Digital Collections Database.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Fragile original scrapbooks are closed to researchers.
Collection Rights:
The Macbeth Gallery 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:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.macbgall, Subseries 8.1
See more items in:
Macbeth Gallery records
Macbeth Gallery records / Series 8: Photographs
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-macbgall-ref11540

Hassam, Childe

Collection Creator:
Macbeth Gallery  Search this
Container:
Box 135, Folder 38
Type:
Archival materials
Date:
1913
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Fragile original scrapbooks are closed to researchers.
Collection Rights:
The Macbeth Gallery 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:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
See more items in:
Macbeth Gallery records
Macbeth Gallery records / Series 8: Photographs / 8.1: Photographs of Artists
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-macbgall-ref11580

Hassam, Childe

Collection Creator:
Macbeth Gallery  Search this
Container:
Box 148, Folder 3-6
Type:
Archival materials
Date:
n.d.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Fragile original scrapbooks are closed to researchers.
Collection Rights:
The Macbeth Gallery 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:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
See more items in:
Macbeth Gallery records
Macbeth Gallery records / Series 8: Photographs / 8.3: Photographs of Artwork and Records of Paintings Sold
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-macbgall-ref11864

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