Preliminary Guide to the Collections Part II || A Preliminary Guide to the Collections of the Archives of American Art: Part II

The Smithsonian Institution

A Preliminary Guide to the Collections of the Archives of American Art: Part IIAuthor(s): Garnett McCoySource: Archives of American Art Journal, Vol. 7, No. 1, Preliminary Guide to theCollections Part II (Jan., 1967), pp. 1-18Published by: The Smithsonian InstitutionStable URL: http://www.jstor.org/stable/1557000 .

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January 1967

A PRELIMINARY GUIDE TO THE COLLECTIONS OF THE ARCHIVES OF AMERICAN ART

PART II

Two years ago the Archives published in the January 1965 Journal a "Preliminary Guide" to its resources. "A future number," we noted at that time, "will carry descriptions of some groups necessarily omitted here." With this issue we not only fulfill that promise, but also describe significant collections of papers received since that time. Together these two lists offer the researcher a virtually complete view of the material available to him at the Archives of American Art.

The rate of growth of the Archives accelerated during 1965 and 1966 to such an extent that of the 113 groups listed in the present Guide, well over half were acquired in that period. A comparison of this new material with that obtained over the previous decade reveals trends which reflect the collecting potential in the field, the

growing knowledge of the Archives' role as a repository of historical information, and the interests of the schol-

arly community. One of the basic principles observed by the Archives

is its adherence to the concept of art in America rather than simply American art. The rising interest among colleges and universities in American Studies programs lends an added importance to this broad interpretation of scope. A useful example of this aspect of the Archives'

collecting policy is its filmed compilations of published art auction and exhibition catalogues devoted to sales and exhibitions held in this country but not limited to works of art produced here. Groups of papers sought and acquired include those of dealers, critics and other writers on art, collectors, and institutions and organizations as well as those of the painters and sculptors who create works of art.

An analysis of the two Guides reveals a consistent

pattern of acquisition reflecting these roles. Collections of artists' papers received in any given period continue to comprise slightly more than half of the total. The past two years, however, have seen a decided shift in

the relative proportions of documents from other activities in the art world. The acquisition of museum records and those of organizations, dealers, and collectors has risen. Papers of critics and scholars, on the other hand, have been pursued less aggressively.

A more revealing statistic concerns chronology. A certain degree of overlapping is inevitable, but even with this qualification in mind, it is clear that the relative number of papers dealing with the past thirty years has sharply increased over those dating from the

previous generation. Nineteenth century records, never very numerous at best, have been further reduced to a small fraction of those listed in the 1965 Guide. Here again the trend reflects the latest tendencies in

scholarly research which appear to be emphasizing the era following the Armory Show of 1913.

A few of the collections listed here deserve special mention as particularly rich sources of information. One of the most complete personal archives of a major artist is that of David Smith, whose reputation among critics, curators, and collectors is rapidly approaching the heights reserved for the few truly great creative spirits. His records, which include an abundance of every form of documentation with the sole exception of a diary, represent an acquisition of enormous historical significance.

Three separate but related groups indicate an in- creasing awareness of the Archives as an appropriate repository of official records. The National Society of Mural Painters, the National Sculpture Society, and the Sculptors Guild have all taken advantage of the services offered by the Archives in the preservation of their documents. Together they form an unusually thorough documentation of the role and activities of artists' organizations in this century.

Three of the major collections acquired by the Archives in 1965 and 1966 were additions to incomplete

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Volume 7 Number 1 I ~ ~ ~ ~ ~ ~ ~ ~ ~



groups received in the past. The Walt Kuhn Papers, supplementing the previously available Armory Show records donated by Miss Brenda Kuhn, now form one of the most voluminous collections on the career of a twentieth century painter. The Elizabeth McCausland Papers, acquired over a period of years, have been greatly increased in quantity as well as in value by the results of her years of research on Marsden

Hartley. Finally, the Macbeth Gallery records, already the largest group in the possession of the Archives, were made complete by the addition of over 30,000 letters and photographs and of all of the ledgers and other business papers reflecting the sixty year history of that firm.

Each entry in the following Guide gives the name of the collection and its present owner. Where possession has passed to the Archives, the name of the donor is listed with the date of acquisition. Where the collection was simply lent for microfilming, the date of duplication is also stated. The various types of documents are indicated with their inclusive dates and the quantity of film they comprise. This is followed by a brief iden-

tifying and descriptive note. No unpublished material in any of the collections may be quoted, published, or otherwise reproduced without permission from the owner. In a few cases permission must also be received

prior to an inspection of the papers.

Garnett McCoy

1. A.C.A. GALLERY

Owner: Archives of American Art. Donor: Mrs. Herman Baron. 1965.

Correspondence, unpublished writings, articles,

clippings, and exhibition catalogues. 1923-1962.

The A.C.A. (American Contemporary Artists) Gallery was started by Herman Baron in 1932 as an outlet for generally unknown and socially conscious artists. For fifteen years it wielded an important influence on the New York art scene, particularly dur-

ing the depression period when it was closely allied with militant artists' organizations. Philip Evergood, William Gropper, Joe Jones, and the Soyers were

among the better known A.C.A. painters. After the war its prestige declined with the growing power of the abstract movement, but Baron himself always retained the affection and esteem of the men with whom he dealt. This selection from his papers chiefly dates from the 1940's and 1950's and includes his own

unpublished history of the Gallery and useful if

subjective material on the Artists Congress.

2. AMERICAN ACADEMY IN ROME Owner: American Academy in Rome. 1964-1965.

Annual reports, exhibition catalogues, memoirs, newsletters, and other publications. 1911-1959. 5 microfilm rolls.

The American Academy in Rome was organized in 1894 and incorporated by Congress in 1905 as an institution whose purpose was "to promote the study and

practice of the fine arts and to aid and stimulate the education and training of architects, painters, sculptors, and other artists by enabling such citizens of the United States as shall be selected by competition ... to develop their powers and complete their training under the most favorable conditions of direction and surround-

ings." In 1913 its scope was broadened to include the

study of the archaeology, literature and history of the classical and later periods. The official published records of the Academy provide useful information on American art students in Italy in the 20th century.

3. AMERICAN ACADEMY OF ARTS AND LETTERS Owner: American Academy of Arts and Letters.

1964.

Correspondence, notes, exhibition catalogues and other published material, biographical information. 1852-1942. 5 microfilm rolls.

The American Academy of Arts and Letters was

organized in 1904 "to afford recognition to distinguished achievement in literature and the fine arts . ." Among its records is a collection of miscellaneous groups of

papers representing a gathering over the years of unsolicited documentary resources given or addressed to the Academy. It includes a volume of notes, draw-

ings, and calculations made by George Bellows for a

study of Jay Hambidge's theory of Dynamic Symmetry and correspondence and published and unpublished biographical and critical material on George de Forest

Brush, Childe Hassam, Francis D. Millet, Joseph Pennell, Elihu Vedder, and J.Q.A. Ward. The Hassam

papers are particularly voluminous, with letters from

John Taylor Arms, E. H. Blashfield, William Merritt

Chase, Royal Cortissoz, J. Alden Weir, and Charles Erskine Scott Wood. Each of the groups contains official

Academy correspondence from its secretary Robert Underwood Johnson.

4. AMERICAN ARTIST MAGAZINE. Owner: Archives of American Art. Donor: Norman Kent. 1959.

Correspondence. 1953-1955. One microfilm roll.

115 letters, comprising selected correspondence of editors of the Amlerican Artist magazine, particularly Ernest W. Watson, during the mid-1950's. Writers

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include Gifford Beal, Van Wyck Brooks, Marshall Fredericks, Robert B. Hale, Henry McBride, Homer St. Gaudens, and Wheeler Williams. A number of retained copies of letters sent are also preserved in the collection.

5. AMERICAN SOCIETY OF CONTEMPORARY ARTISTS. Owner: The American Society of Contemporary

Artists. 1965.

Correspondence, minutes of meetings, cash books, scrapbooks, press releases, and exhibition notices. 1917-1965. 2 microfilm rolls.

Incorporated in 1917 as the Brooklyn Society of Artists, whose purpose was "the advancement of painting, sculpture and other arts, and to promote good fellowship by means of lectures, cooperation and social intercourse between artists and those interested in art," this organization changed its name in 1962 to the American Society of Contemporary Artists. Its chief activity is an annual exhibition. Of the Society's records, minutes and financial reports are complete from 1917; correspondence is limited to the period following 1950.

6. ARTISTS FOR VICTORY. Owner: Archives of American Art. Donor: Miss Helen Treadwell. 1965.

Correspondence, minutes of board meetings, com- mittee reports, and financial records. 1942-1946. One microfilm roll.

Artists for Victory, a wartime organization of painters and sculptors, was formed in March 1942 "to assist artists in utilizing their special qualifications to the best advantage in helping to win the war." Its activities included the organization of a war poster competition, arranging British-American Goodwill exhibitions, and sponsoring portrait drawings, demonstrations, and instruction in military hospitals. Among its officers were Arthur Crisp, Hugo Gellert, Robert Gwathmey, Paul Manship, Waldo Peirce, and Nathaniel Pousette- Dart.

7. ASSOCIATED AMERICAN ARTISTS GALLERIES. Owner: Syracuse University Library. 1965.

Scrapbooks. 1934-1960. 2 microfilm rolls.

The Associated American Artists Galleries was organized in 1934 to stimulate interest throughout the country in the ownership of works of art by promoting the sale of prints through department stores. In the

following year oils, water colors and other media were

represented in AAA Galleries exhibitions. Later the

department store project was abandoned in favor of a New York headquarters. The scrapbooks include promotional material, reviews, endorsements, reproductions, and exhibition catalogues dealing with the work of artists associated with the Galleries, among them Howard Baer, Thomas Hart Benton, Aaron Bohrod, John Steuart Curry, Adolf Dehn, George Grosz, Joe Jones, Luigi Lucioni, and Grant Wood.

8. ASSOCIATION OF AMERICAN EDITORIAL CARTOONISTS. Owner: Archives of American Art. Donor: Association of American Editorial Car-

toonists. 1961-1963.

Cartoons. 1961-1963.

Selected examples of original editorial cartoon drawings by 85 members of the Association of American Editorial Cartoonists representing much of the nation's daily press. The collection also includes several hundred reproductions of newspaper editorial cartoons.

9. GEORGE AULT (1891-1948). Owner: Archives of American Art. Donor: Mrs. George Ault. 1965.

Correspondence, two sketchbooks, photographs, and exhibition material. 1915-1958. One microfilm roll.

Selected records of a New York painter whose reputation was established in the 1920's. Most of the correspondence deals with Mrs. Ault's efforts to exhibit and sell the artist's works after his death.

10. SAUL (1889-1957) AND EUGENIE (1899-1949) BAIZERMAN. Owner: Mrs. Joan Baizerman. 1964.

Correspondence, notes, published and unpublished writings, photographs, sketches, catalogues, articles and clippings. 1923-1957. 6 microfilm rolls.

Saul Baizerman, a Russian born sculptor who devel- oped a process for hammered bronze and copper pieces, wrote numerous articles and a book on art. His correspondence with his wife Eugenie, a painter, is especially useful during the years 1924 and 1925 when he was working in England and Russia. His other writings, including poetry, plays and stories, as well as notes and drawings for specific works of art, are rich in autobiographical references. A later series comprises letters to his second wife, Joan Baizerman.

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11. MAURICE BECKER (1889- ). Owner: Archives of American Art. Donor: Maurice Becker. 1966.

Sketches, publications, correspondence, clippings, cartoons, and photographs. 1909-1962.

A painter, illustrator, and editorial cartoonist, Maurice Becker studied under Robert Henri, exhib- ited in the Armory Show, and published drawings in The Masses and other periodicals. His papers include 24 numbers of The Masses (1911-1917), 24 of the Liberator (1918-1924) and the first issue of New Masses (1926). A large number of catalogues, articles, and other publications are supplemented by original drawings for paintings and cartoons. There are also portrait sketches of such figures as Heywood Broun, Floyd Dell, Max Eastman, William Glackens, Emma Goldman, Samuel Gompers, Big Bill Haywood, John Mitchell, and Lincoln Steffens.

12. EMANUEL BENSON (1904- ). Owner: Archives of American Art. Donor: Emanuel Benson. 1965.

Reports, directives, articles, lectures, speeches, clippings, and publications. 1936-1939. One microfilm roll.

Records kept by Emanuel Benson in his role of consultant to the Federal Art Project under the WPA. Two aspects of the Project, the Community Art Centers and the Index of American Design, are well covered. The mock-up of a projected book on the Project, "Art for the Millions," is included, together with essays written for it by Stuart Davis and Balcomb Greene.

13. GEORGE BIDDLE (1885- ). Owner: George Biddle. 1966.

Diary. 1948, 1954-1957, 1959-1962.

A detailed, sensitive, and well-written diary which supplements a previously lent journal for 1933 and correspondence of the 1930's and 1940's. It includes numerous impressions of and occasional fragments of conversation with many of Biddle's friends and associates in the world of art and literature: Van Wyck Brooks, Yasuo Kuniyoshi, Maurice Sterne, Max Weber, Reginald Marsh, Hunt Diederich, and Ezra Pound, the

subject of a long interview at St. Elizabeth's Hospital. An extremely useful document in its expression of the feelings of a cultivated spokesman for the generation which came to maturity before 1930.

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14. JEROME BLUM (1884-1956). Owner: Archives of American Art. Donor: Mrs. Jerome Blum. 1965-1966.

Correspondence, notes, journals, stories, autobiographical writings, photographs, and publications. 1909-1965. 3 microfilm rolls.

A prolific painter and writer, Jerome Blum spent manyyears abroad and enjoyed a wide circle of acquain- tances in the art and literary circles of the pre-depression era. Correspondents represented in his papers include Edward Bruce, Padraic Colum, John Dos Passos, Guy Pene du Bois, Theodore Dreiser, Max Eastman, Emma Goldman, Hutchins Hapgood, Alfred Kreymborg, Waldo Peirce, William Seabrook, Edgar Varese, Art Young, and the Queen of Tahiti. A particularly fine series of over 30 letters from Sherwood Anderson reflects that writer's interest in painting. The usefulness of these papers is enhanced by a draft of an extended biography of the artist by Mrs. Jerome Blum.

15. THEODORE BOLTON (1889- ). Owner: Archives of American Art. Donor: Theodore Bolton. 1959.

Correspondence, typescripts of books, publications, and clippings. 1920-1958. 2 microfilm rolls.

An art scholar and librarian of the Century Associa- tion, Theodore Bolton compiled several published and unpublished works on American art. His papers include drafts of Bolton's publications American Book Illustrators (N.Y., 1938), A Working Bibliography ... Relating to Art in Pennsylvania ... Notes for a Revision (Philadelphia, 1948), and a portion of Sinclair Hamil- ton's Early American Book Illustrators, 1670-1870 (Princeton, 1958). "A Brief History of the French Impressionists" and "Annotated Bibliography of Early American Painters, Sculptors and Engravers to 1860" are apparently unpublished works.

16. ROBERT BRACKMAN (1898- ). Owner: Robert Brackman. 1966.

Correspondence, draft articles, a scrapbook, photographs, clippings, and other publications. 1941-1966. One microfilm roll.

Papers of a popular figure painter and teacher over the past 40 years. Most of his correspondence is with

buyers, museum curators, and students. A large selection of photographs of his paintings is included. Among other correspondents are Irving Berlin, Robert Philipp, Malcolm Vaughan, and Congressman George A. Dondero.



17. FRANCIS SCOTT BRADFORD (1898-1961). Owner: Archives of American Art. Donor: Mrs. Ralph Ingersoll. 1962-1965.

Correspondence, a diary (1925-1929), photographs, scrapbooks, sketchbooks, drawings, notes, publications, and clippings. 1917-1958. 2 microfilm rolls.

Records of a mural painter who decorated many public and private buildings in New York and the Midwest. Correspondence chiefly relates to commis- sions with the exception of a series of detailed letters from the front in 1917 and 1918 written by Bradford to his family. The scrapbooks, publications, photographs, and other documents reflect his career during the

period from the mid-1930's to the late 1950's.

18. WILL BRADLEY (1868-1962). Owner: Archives of American Art. Donor: Mrs. Edward Dufner. 1965.

Sketches, books, articles, and biographical material. 1912-1958. One microfilm roll.

One of America's best type designers and art editors, Will Bradley began his career well before 1900 and became a major influence on improved typography during the first half of this century. His papers, especially through sketches and copies of books he designed, illustrate the means by which he achieved his reputation.

19. THEODORE BRENSON (1893-1959). Owner: Archives of American Art. Donor: Mrs. Theodore Brenson. 1960.

Correspondence, drafts of writings, gallery literature.

A painter, teacher, and writer, Theodore Brenson came to this country from Latvia in 1941. His papers contain copies of letters to artists and writers on art, teaching notes, and manuscript lectures and articles on art education.

20. BROOKLYN MUSEUM. Owner: Brooklyn Museum. 1964.

Correspondence, exhibition records and catalogues, lists, press releases, reports, and miscellaneous published and unpublished material. 1823-1963. 25 microfilm rolls.

Records of some departments and activities of the Brooklyn Museum, including correspondence and other records of the Department of Prints and Drawings, especially in connection with its exhibitions; isolated letters from such individuals as Mary Cassatt, Pop Hart, J.A.M. Whistler, J. Alden Weir, and Theodore Robinson; letters related to specific exhibitions from

Josef Albers, Leonard Baskin, Helen West Heller,

Rockwell Kent, and Max Weber; Federal Art Project material, especially in relation to graphics; a complete record of Brooklyn Museum exhibitions; several hundred miscellaneous exhibition catalogues. Two useful

separate series are copies of Brooklyn Institute records, 1823-1873, and an unpublished autobiography by William Henry Fox, head of the Brooklyn Museum

during most of the first third of this century.

21. BYRON BROWNE (1907-1961). Owner: Mrs. Byron Browne. 1963.

Correspondence, business records, biographical information, a note and sketchbook, photographs, and miscellaneous published material. 1928-1961. 2 microfilm rolls.

A painter and teacher, Byron Browne was associated with the American Abstract Artists group at its first exhibition in 1937. His papers reflect the struggles and difficulties faced by an experimental artist in the

period immediately after World War II.

22. JOHN CANADAY (1907- ). Owner: John Canaday. 1965.

Correspondence and reviews. 1959-1965. 6 microfilm rolls.

Letters received and copies of letters sent by the New York Times art critic since 1959. Correspondence is

chiefly with interested laymen, but some artists and critics are also represented, among them George Biddle, Balcomb Greene, Adolf Dehn, Ernest Fiene, Joseph Hirsch, Karl Knaths, I. Rice Pereira, Nathaniel

Pousette-Dart, Henry Varnum Poor, Selden Rodman,

Jack Tworkov, and William Zorach.

23. JOHN WILLIAM CASILEAR (1811-1893). Owner: Archives of American Art. Donor: Lawrence A. Fleischman. 1962.

Correspondence, biographical and genealogical information, family photographs, and clippings. 1832- 1962. One microfilm roll.

This collection of Casilear's papers includes two of his early letters (1832-1833) to John Kensett and four late ones (1891-1892) to his son. Most of the other material is devoted to genealogical researches, articles on Casilear, and family photographs.

24. CENTURY ASSOCIATION. Owner: Century Association. 1965.

Correspondence, minutes, notes, and exhibition records. 1829-1958. 2 microfilm rolls.

A partial selection of Century Association records, chiefly exhibition records (1881-1924 and 1942-1958), miscellaneous notes on exhibitions, and exhibition

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catalogues. Asmall groupof correspondence (1902-1931) is also included. A separate series comprises minutes of the Sketch Club, a New York organization of artists and writers which existed from 1829 to 1869. Minutes for the first few years are both detailed and amusing: "January 21, 1830 ... Multitudes of sketches were made and many oysters eaten. In the absence of Morse whiskey punch flourishes. Ditto coffee."

25. SETH WELLS (1810-1856) AND JOHN (1801-1885) CHENEY. Owner: Archives of American Art. Donor: Mrs. Hermann W. Williams, Jr. 1960.

Correspondence, lists, clippings, notes, family photographs. 1848-1899. One microfilm roll.

Papers gathered by Ednah Cheney, wife of Seth Wells

Cheney, for her memoirs of the two brothers, prominent 19th century engravers. Most of the correspondence comprises letters to Ednah Cheney from S. R. Koehler, Charles Henry Hart and other authorities on engraving. Other useful items are two lists of casts for a sculpture collection, a journal kept by Anna C. Lowell of Seth W.

Cheney's visit to her family in 1848, and a phrenological analysis of that artist.

26. ADELE CLARK. Owner: Archives of American Art. Donor: Adele Clark. 1964.

Correspondence, notes, lists, reports, photographs, clippings, and publications. 1937-1943. One microfilm roll.

Miss Clark was director of the Federal Art Project in Virginia under the WPA. Her records of this posi- tion include letters from local sponsors, data report sheets on the Index of American Design, lists of artists

employed, notes and reports on the Project, requests for allocation of works of art, and photographs of the

operation of two Community Art Centers. They reflect the successful application of various Federal Art Project activities in a typical state program.

27. THE CLUB. Owner: Phillip Pavia. 1965.

Financial records, membership lists, and announcements. 1948-1955. One microfilm roll.

Records kept by Phillip Pavia, a prominent New York sculptor and treasurer of The Club, a postwar organization of New York painters, sculptors, and critics interested in forging a new artistic expression. Informal discussions grew into a long series of more highly organized panel sessions which laid much of the theo- retical basis for the New York School. 12 notebooks, a

group of membership lists, and post-card announcements of meetings provide documentation for the early years of The Club's activities.

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28. COLLECTORS OF AMERICAN ART. Owner: Contemporary Arts Gallery. 1965.

Correspondence, minutes, financial accounts, scrapbooks, and publications. 1930-1964. 5 microfilm rolls.

The Collectors of American Art, Inc. was organized in 1938 "to promote extensive private ownership of

contemporary American art." An attempt to revive the concept of the American Art Union of the 1840's, it distributed among its members paintings and prints by contemporary artists. The extensive records of the

group also include records dealing with the activities of the Contemporary Arts Gallery which was begun in 1929 "for the advancement of comparatively unknown artists in all fields."

29. ARTHUR COVEY (1877-1960). Owner: Archives of American Art. Donor: Mrs. Arthur Covey. 1961, 1965.

Correspondence, business records, photographs, scrapbooks, and publications. 1900-1958.

Arthur Covey was a muralist as well as an illustrator of books and magazine covers. His papers are chiefly business records reflecting his career in the 1920's and 1930's when he was decorating a number of public and

private office buildings, most notably the Kohler Administration Building in Kohler, Wisconsin and the

Contemporary Arts Building of the 1939 New York World's Fair. Personal items include photograph albums, a note from George Bellows, a long letter from the California painter F. Tolles Chamberlin, and several communications from the English muralist and illustrator Frank Brangwyn, with whom Covey was associated from 1903 to 1908.

30. MARY BARTLETT COWDREY (1910- ). Owner: Archives of American Art. Donor: Mary Bartlett Cowdrey. 1956-1960.

Notes, writings, a bibliography, correspondence, photographs, catalogues, reproductions, clippings, articles, books, and other publications. 1845-1960.

A large collection of material from the files of Miss

Cowdrey, authority on 19th century American painting. Among special items are a bibliography of her writings, a typescript of George H. Durrie's diary, 1845-1846, extensive notes for a book on William S. Mount written by Miss Cowdrey and Hermann W. Williams, and a collection of books illustrated by 19th century American artists. A separate series lent for microfilming consists of a compilation of information on National

Academy exhibitions from 1861 to 1890.



31. ROBERT CRONBACH (1908- ). Owner: Robert Cronbach. 1966.

Correspondence, lectures, notes, photographs, catalogues, and clippings. 1933-1965. 2 microfilm rolls.

Material relating to Cronbach's work as a sculptor in New York. Correspondence is chiefly with organizations and institutions commissioning sculpture for buildings. Addresses, lecture notes, and photographs of works deal with the entire postwar period.

32. THOMAS SIER CUMMINGS (1804-1894). Owner: Century Association. 1958.

Correspondence, broadsides, and clippings. 1826- 1893. One microfilm roll.

A 19th century painter, teacher and official of artists' organizations including the National Academy, Cum- mings maintained a correspondence with many of the leading 19th century New York painters. His letter book, which includes some drafts of his own communications, contains letters from, among others, Albert Bierstadt, George Catlin, J. G. Chapman, Asher B. and John Durand, F. W. Edmonds, Charles L. Elliott, Regis Gignoux, Daniel Huntington, Henry and John Inman, Louis Lang, S. F. B. Morse, E. W. Perry, and Thomas Sully. A portion of this material deals with Cummings' work as an art teacher.

33. DELAWARE FEDERAL WRITERS PROJECT. Owner: University of Delaware. 1964.

Essays, notes, and other writings. 1935-1941. 12 microfilm rolls.

The tangible results of one state's Federal Writers Project administered under the WPA during the 1930's. 48 volumes of typescript material, together with an index, contain historical, economic, sociological, and cultural notes, investigations, and research papers on Delaware compiled by a team of writers.

34. MARIE DE MARE-G.P.A. HEALY (1813-1894). Owner: Archives of American Art. Donor: Miss Marie de Mare. 1956.

Correspondence, notes, clippings, and draft writings. 1811-1955. One microfilm roll.

Research papers kept by Marie de Mare in connection with her book on her grandfather George Peter Alexander Healy, published in 1954. Most of the correspondence is between Miss De Mare and various members of the family, but some copies of letters to and from Healy are included, together with excerpts from his and his daughter's diaries, lists of his paintings, and the draft of Miss De Mare's book.

35. DETROIT INSTITUTE OF ARTS. Owner: Detroit Institute of Arts. 1959.

Annual reports, bulletins, and scrapbooks. 1882- 1957. 14 microfilm rolls.

Official publications of the Detroit Institute of Arts from 1890 to 1952. The scrapbooks, a separate series, contain press clippings, reviews, announcements, catalogues, reproductions, and photographs from the Detroit Art Loan Exhibition of 1882 through the suc- ceeding Detroit Museum of Art and Detroit Institute of Arts activities to 1957.

36. THOMAS EAKINS (1844-1916). Owner: Pennsylvania Academy of the Fine Arts.

1964.

Correspondence. 1866-1868; 1885-1906.

Photostatic copies of 20 letters written by Thomas Eakins, most of them to members of the Sartain family of Philadelphia. Earlier items were written while Eakins was studying in Europe. The most significant document is a "Statement" drawn up for Miss Emily Sartain in which Eakins briefly sets forth his view of the events leading to his dismissal from the Pennsylvania Acad- emy. An additional group consists of copies of three letters from Thomas Anshutz written in 1884, all referring to Eakins.

37. CHARLES FITZGERALD Owner: Archives of American Art. Donor: Ira Glackens. 1964.

Scrapbooks. 1902-1904. Three volumes.

Charles FitzGerald was the influential art critic for the New York Sun in the early years of the 20th century. His columns for the period from 1902 through 1904 are full of favorable comments on the work of the men who would later join to produce the exhibition of The Eight-Henri, Sloan, Luks, Glackens, and Shinn. FitzGerald also attacked the Academy and the Society of American Artists, discussed Impressionist paintings in American collections, and generally helped to create a climate favorable to modern art in this country.

38. HALLIE FLANAGAN (1890- ). Owner: New York Public Library Theater Collec-

tion. 1964.

Correspondence, scripts, photographs, publications, and clippings. 1935-1942. 7 microfilm rolls.

Hallie Flanagan Davis was director of the Federal Theater Project under the WPA during the second half of the 1930's. Her personal records dealing with

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this activity are a valuable source on the operation and administration of one of the most controversial of the New Deal cultural programs. They are also an important supplement to the official records of the same

agency in the National Archives.

39. MR. AND MRS. LAWRENCE A. FLEISCHMAN. Owner: Mr. and Mrs. Lawrence A. Fleischman.

1965.


Letters written to Mr. and Mrs. Fleischman by artists and scholars, this group of papers reflects the interests and art activities of major collectors of American art. Since many of the communications include biographical details and statements by painters describing the

background and circumstances under which a particular work was produced, the correspondence represents a valuable source of information on some important 20th century artists. Among the writers are Ivan Le Lorraine Albright, Aaron Bohrod, Charles Burch-

field, Philip Evergood, Edward Hopper, Abraham

Rattner, Ben Shahn, and Franklin Watkins.

40. LEE GATCH (1902- ). Owner: Lee Gatch. 1963.

Correspondence, notebooks, catalogues, and other

publications. 1925-1962. One microfilm roll.

The papers of an important contemporary painter, this group comprises letters from his dealers, two notebooks dating from the 1920's, and catalogues of his exhibitions over the past 20 years. A separate series includes some early correspondence of his wife, Elsie

Driggs Gatch, a painter whose reputation was well established in the 1930's.

41. FAY GOLD (1907- ). Owner: Archives of American Art. Donor: Miss Fay Gold. 1963.

Correspondence, a sketchbook, a scrapbook, photographs, biographical data, clippings, and exhibition

catalogues. 1927-1962.

Papers of a New York painter, this group includes records of her own career as well as letters from her

teacher, Howard Giles, written in the 1930's and 1940's. A separate but important item is a 7-page memoir in the form of a letter from Helen West Heller describing at length her struggles as an artist.

42. PEGGY GUGGENHEIM GALLERIES. Owner: Peggy Guggenheim. 1965.

Catalogues, clippings, and other published material. 1938-1947. One microfilm roll.

Scrapbooks maintained by Peggy Guggenheim in

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connection with her London gallery, Guggenheim Jeune (1938-1939), and New York gallery, Art of This

Century (1942-1947). A useful compilation of material on some early exhibitions of works by several major contemporary figures.

43. HANNA GALLERIES. Owner: Archives of American Art. Donor: Mr. Jay Hanna. 1962.

Correspondence, card files, ledgers, scrapbooks, photographs, and publications. 1885-1962.

Scattered records of several galleries owned in whole or in part by members of the Hanna family of Detroit.

Correspondence is limited, but the ledgers and card files are useful for information on the art market in Detroit in the first quarter of this century. An additional group comprises scrapbook material on the J. L. Hudson art department in the 1930's and 1940's when it was operated by Mr. Jay Hanna.

44. HARPER'S MAGAZINE. Owner: Archives of American Art. Donor: Harper's Magazine. 1964.

Correspondence, clippings, and articles. 1946-1962. One microfilm roll.

Letters from and to artists on the subject of illustra- tions for Harper 's. Many of the communications include

biographical information and printed material on the writers' work. Among other correspondents are Lou

Block, Bernarda Bryson, William Gropper, John Groth, Robert Osborn, Ben Shahn, Aaron Sopher, and

Andy Warhol.

45. CHAUNCEY BRADLEY IVES (1810-1894). Owner: Mrs. E. Ives Bartholet. 1964.

Correspondence. 1838-1883.

A small collection of letters to the American sculptor Chauncey Bradley Ives and his wife, who spent most of their lives in Rome. They serve as a useful supplement to other Archives records on expatriate artists in

Italy. Among other correspondents are the theologian Horace Bushnell, the wife of the painter John R.

Tilton, Harriet Beecher Stowe, and John Singer Sargent.

46. MARTHA JACKSON GALLERY. Owner: Martha Jackson Gallery. 1965.


Letters, including some retained copies, reflecting the operation of an important New York gallery. Some of the artists represented in these papers are Karel

Appel, Sam Francis, Paul Jenkins, Alfred Leslie, Marino

Marini, Ben Nicholson, Rudy Pozzatti, and William Scott.



47. RAYMOND JONSON (1891- ). Owner: Raymond Jonson Gallery, University of

New Mexico. 1965.

Correspondence, diaries, notebooks, lectures, scrapbooks, photographs, and exhibition records. 1910- 1964. 10 microfilm rolls.

Complete records on the life and career of a painter who has been closely associated with Santa Fe for over 40 years. Family correspondence is especially rich. Extensive correspondence with friends and institutions is also useful as is a three volume diary covering the

years 1919-1926. The collection as a whole is valuable for its documentation on art in the Southwest. Some of the writers of letters are Josef Albers, Andrew Dasburg, Elaine de Kooning, Hilaire Hiler, B. J. O. Nordfeldt,

Agnes Pelton, and Jean Xceron.

48. ARISTODEMOS KALDIS (1899- ). Owner: Aristodemos Kaldis. 1965.

Correspondence, photographs, clippings, and exhibition catalogues. 1941-1965. 58 items. 116 frames of microfilm.

A small collection of the records of a New York School painter and figure in 8th Street art circles after World War II.

49. CHARLES KECK (1875-1951). Owner: Mrs. Charles Keck. 1962.

Scrapbooks. 1915-1947. One microfilm roll.

Photographs, clippings, speeches, and some corres-

pondence of a prolific sculptor, chiefly of memorial

figures, among them Stonewall Jackson, George Wash-

ington, and Booker T. Washington, commissioned by a number of cities and institutions.

50. NORMAN KENT (1903- ). Owner: Norman Kent. 1965.

Correspondence, articles, clippings, and gallery literature. 1939-1964. 2 microfilm rolls.

Papers of a graphic artist and editor. Most of the collection is correspondence from such individuals as John Taylor Arms, George Biddle, Charles Burch-

field, Howard Cook, Rockwell Kent, Everett Shinn,

John Sloan, and Lynd Ward.

51. FRANK KLEINHOLZ INTERVIEWS. Owner: Archives of American Art. Donor: Frank Kleinholz. 1959.

Recordings. 1944-1945. 33 disks.

Phonograph records made from a series of radio

programs on WNYC entitled "Art in New York," conducted by a painter. Among other individuals interviewed were Alexander Dobkin, Philip Evergood, John Groth, Elizabeth McCausland, Philip Reisman, Nahum Tschacbasov, and Abraham Walkowitz.

52. FRANZ KLINE (1910-1962). Owner: Elisabeth Zogbaum. 1965.

Correspondence, photographs, publications, and

clippings. 1928-1962. 2 microfilm rolls.

Useful chiefly for their photographs and numerous

publications, these records of Franz Kline's career reflect his interests and associations as well as his impact on the art world of the 1950's. Much of the correspondence consists of letters of condolence on the artist's death. Several objects and some business papers are also included.

53. WALT KUHN (1877-1949). Owner: Archives of American Art. Donor: Miss Brenda Kuhn. 1964-1966.

Correspondence, card files, business papers, car-

toons, photographs, writings, clippings, and publications. 1901-1966.

A large and important collection of the personal and

business papers of a 20th century American painter. Since Kuhn was often away from home, he wrote well over a thousand detailed letters to his wife and daughter between 1909 and 1949. As secretary of the Associa- tion of American Painters and Sculptors, he was one of the central figures in the organization of the Armory Show, and his private letters concerning that event and its aftermath are of major historical significance as a behind-the-scenes supplement to the official Armory Show records already preserved in the Archives. Several letters from Arthur B. Davies and John Quinn deal with this same period, but the bulk of the collection dates from after 1924 and reflects Kuhn's activities as a designer and director of musical productions, artistic consultant to the Union Pacific Railroad, unofficial advisor to several

private collectors as well as to the Marie Harriman

Gallery, art teacher, writer, and painter. A complete record of Kuhn's own work is also included in these

papers which were preserved and organized by Mrs. Kuhn and their daughter Brenda. The latter's tape- recorded reminiscences of her father form a useful addition.

54. ALFRED LESLIE (1927- ). Owner: Alfred Leslie. 1965.

Correspondence, manuscript articles, and galley sheets. 1959-1962. 2 microfilm rolls.

A New York painter, Alfred Leslie is also a writer, editor, and film producer. His papers chiefly comprise

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letters from friends and associates concerning his work and particularly his editorship of an avant-garde literary review called The Hasty Papers (1960). Among correspondents are Samuel Becket, Gregory Corso, Sam Francis, Allen Ginsberg, Sam Hunter, Norman Mailer, Marianne Moore, and Boris Pasternak.

55. MACBETH GALlERY.

Owner: Robert G. McIntyre Estate. 1966.

Correspondence, business records, ledgers, pnoto- graphs, notes, publications. 1826-1964. c. 40,000 items.

All Macbeth Gallery records not already maintained at the Archives. This addition comprises some family correspondence of Robert G. McIntyre, last owner of the gallery; business correspondence with artists, collectors, museums, critics, dealers, societies, and sellers covering the years 1909, 1916, 1918, 1920-1922, 1925, 1929-1954; ledgers and other financial records covering the entire period of the gallery's existence (1892-1954); several hundred photographs of works handled by the gallery; writings, notes, and other research material gathered by Robert McIntyre; and a large number of books, catalogues and other publications. A few of the more important correspondents are Arthur B. Davies, Marsden Hartley, Childe Hassam, Charles W. Hawthorne, Robert Henri, John La Farge, Hayley Lever, George Luks, Xavier Martinez, Jerome Myers, Howard Pyle, Albert Pinkham Ryder, Charles Sheeler, and Andrew Wyeth.

56. ELIZABETH McCAUSLAND-MARSDEN HARTLEY.

Owner: Whitney Museum of American Art. 1966.

Correspondence, notes, card files, photographs, articles, and publications. 1901-1962. 7 microfilm rolls.

Elizabeth McCausland, the critic and art historian, devoted the last 15 years of her life to a biography of Marsden Hartley and to a catalogue of his works. Her compilation of notes, writings, photographs, and miscellaneous information from dozens of sources represents the final but uncompleted results of this effort. Transcripts of Hartley letters to several friends and Miss McCausland's notes on other letters are especially useful. The collection also contains photographs of and data on several hundred of Hartley's paintings. The project was begun with the cooperation of the American Art Research Council, later absorbed by the Whitney Museum, and much of the material came from its resources.

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57. DODGE McKNIGHT (1860-1950). Owner: Andrew Oliver. 1965.

Correspondence and clippings. 1889-1930. c.100 items. 168 frames of microfilm.

Nearly a hundred letters from the painter Dodge McKnight to the Boston critic, collector, and dealer Desmond Fitzgerald. The collection also contains press clippings concerning McKnight exhibitions and single letters to Fitzgerald from Claude Monet, John Henry Twachtman, and Isabella Gardner.

58. FREDERICK WILLIAM MacMONNIES (1863-1937). Owner: Mrs. Henry Vander Velde. 1965.

Scrapbooks. 1889-1901. Five volumes. 207 frames of microfilm.

Press clippings, articles, reproductions and other published material relating to the work of the popular sculptor, Frederick MacMonnies. Most of these items date froni the late 1890's and much of it deals with MacMonnies' work on the Washington Square Monument in New York.

59. EDWARD MIDDLETON MANIGAULT (1887-1922). Owner: Norton Gallery and School of Art, West

Palm Beach, Florida. 1965.

Correspondence, an account book, catalogues. 1906- 1950. One microfilm roll.

A Canadian born painter, Manigault worked in New York where he was a friend of the artist and teacher Kenneth Hayes Miller. Useful biographical and critical information is contained in Mrs. Manigault's correspondence with Miller, Lloyd Goodrich, and others after her husband's death. A more direct source is his own account book (1906-1919) listing his works, prices, and buyers.

60. RALPH MAYER (1895- ). Owner: Ralph Mayer. 1965.

Correspondence, notebooks, business records, scrapbooks, photographs, and publications. 1929-1964. 3 microfilm rolls.

A painter as well as a chemist interested in the quali- ties of paint and color, Ralph Mayer has long conducted technical classes for artists. His papers reflect both of these activities as well as his work as a conservator and restorer. Widely acquainted in the art world, he has corresponded with a number of painters and sculptors including George Biddle, Peter Hurd, Abraham Rattner, John Sloan, and David Smith.



61. WILLIAM AND 'THERESA BERNSTEIN MEYEROWITZ. Owner: Archives of American Art. Donor: Mr. and Mrs. Meyerowitz. 1966.

Correspondence, photographs, writings, clippings, and catalogues. 1918-1966. c. 200 items. 427 frames of microfilm.

Mr. and Mrs. Meyerowitz have been successful New York painters, graphic artists, and teachers for over 40 years. Their papers deal with exhibitions and sales and also include notes and essays by Mrs. Meyerowitz. Among other correspondents are Edwin Blashfield, Oscar Bluemner, Duncan Phillips, and John Weichsel, the organizer of settlement house exhibitions whose papers are in the Archives.

62. WALTER MIDENER (1912- ). Owner: Archives of American Art. Donor: Walter Midener. 1965.

Correspondence, exhibition catalogues, and clippings. 1938-1965.

Walter Midener, a nationally recognized sculptor, has taught at the Detroit Society of Arts and Crafts since 1946. His papers deal chiefly with his career as an artist in New York prior to the war and in Detroit afterwards.

63. BRUCE HANDISIDE MITCHELL (1908-1963). Owner: Archives of American Art. Donor: Mrs. Olivia Dehn Mitchell. 1964.

Correspondence, photographs, drawings, publications, and clippings. 1932-1962.

Records of a painter, illustrator, and teacher. Most of the letters are from Mitchell to his wife and mother, those of the war period and thereafter describing his activities as army artist and college art teacher. Several of the books and articles he illustrated are included in the collection.

64. ROSS MOFFETT (1888- ). Owner: Ross Moffett. 1962.

Correspondence, photographs, catalogues, and clippings. 1912-1962. One microfilm roll.

Records of a student of Charles W. Hawthorne and long a leading figure at Provincetown. About 150 letters from artists, curators and government institutions effectively trace his career, particularly during the past 20 years.

65. IOHN D. MORSE (1906- ). Owner: Archives of American Art. Donor: John D. Morse. 1962.

Correspondence. 1953-1954.

Research correspondence with museums, historical societies, and dealers across the country in connection with the publication Old Masters in America; A Com- prehensive Guide (Chicago, 1955). 40 old masters were selected and over 2000 examples of their work were found through this exchange. Useful material for the development of taste and collecting patterns in America.

66. MOWBRAY-CLARKE FAMILY. Owner: The Mowbray-Clarke Family. 1964.

Correspondence, business records, lists, and publications. 1901-1925. 248 microfilm frames.

Papers of John Frederick and Mary Horgan Mowbray-Clarke. His include a few letters, cards, clippings, and a catalogue of his work. The most interesting item, a typed list of American sculptors in two columns marked "Acceptable" and "Unacceptable," may well concern sculpture selections for the Armory Show. Mrs. Mowbray-Clarke's papers deal with the operation of the Sunwise Turn Book Shop, a book and art store, between 1915 and 1925, A series of letters from Frank G. Applegate describe Santa Fe in the early 1920's. Other letters and documents relate to exhibitions put on for Charles Burchfield, Andrew Dasburg, B. J. O. Nordfeldt, and Henry Varnum Poor.

67. MUNICIPAL ART SOCIETY, BALTIMORE CITY. Owner: Municipal Art Society, Baltimore. 1963.

Minutes and other records. 1899-1963. One microfilm roll.

Three volumes of minutes of the Society's meetings during this century. The Society arranged for murals in Baltimore by notable American painters, erected statues, organized exhibitions, contributed to fellow- ships, and sponsored lectures. The minutes provide a full record of these activities and include membership lists.

68. FRANK HARMON MYERS (1899-1956). Owner: Archives of American Art. Donor: Mrs. Frank H. Myers. 1960-1962.

Correspondence, sketchbooks, loose sketches, photographs, reproductions, catalogues, articles, and clippings. 1891-1956. 2 microfilm rolls.

Papers of a prominent Cincinnati painter and teacher who also lived in California after the 1930's. Most of the correspondence consists of family letters written

11



in the 1920's and again in the 1940's and 1950's. A separate series is from John Bunker, a Cincinnati advertising man and poet. The collection is a thoroug'h documentation of the life and career of Frank H. Myers and also throws light on the art scene in Cincinnati between 1920 and 1950.

69. NATIONAL SCULPTURE SOCIETY. Owner: Archives of American Art. Donor: National Sculpture Society. 1964.

Correspondence, journals, minutes, membership records, business records, photographs, scrapbooks, and publications. 1893-1964. 8 microfilm rolls.

Founded in 1893, the National Sculpture Society is the major American sculptors' organization. Its official records reflect, with some gaps, the complete history of the Society. Several volumes deal with special exhibitions sponsored by the Society and a group of scrapbooks provide a comprehensive survey of press coverage of American sculpture from the 1890's to the 1940's. Over 300 photographs and glass negatives of early 20th

century sculpture are included.

70. NATIONAL SOCIETY OF MURAL PAINTERS. Owner: Archives of American Art. Donor: National Society of Mural Painters. 1964.

Correspondence, minutes, account books, lists,

membership information, photographs, and publications. 1895-1963. 4 microfilm rolls.

The Society was organized in 1895 "to establish and advance the standards of Mural Painting in America, to promote cooperation among Mural Painters and

represent their interests in major public issues, to hold

public exhibitions, to encourage sound education in Mural decoration, and to formulate a code for deco- rative competitions and by-laws to regulate professional practice." This extensive collection of records documents these activities thoroughly, although a relatively small portion of the material deals with the government mural projects of the 1930's. Some of the correspondents are George Biddle, Edward Bruce, Kenyon Cox, Philip Evergood, Rockwell Kent, Geoffrey Norman, and Ernest Peixotto.

71. EUGEN NEUHAUS (1879-1963). Owner: Robert Neuhaus. 1964.

Correspondence, sketchbooks, photographs, cata-

logues, scrapbooks, and clipping. 1908-1942. 337 frames of microfilm.

A native of Germany who settled in San Francisco in 1904, Eugen Neuhaus served many years as profes-

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sor of art at the University of California. His papers, a relatively small collection, reflect his activities as a

painter, teacher, and writer on art.

72. LOUISE NEVELSON (1900- ). Owner: Archives of American Art. Donor: Louise Nevelson. 1966.

Correspondence, photographs, sketches, catalogues, articles, periodicals, books, and clippings. 1922-1965.

A voluminous documentation of the career of this notable artist, with emphasis on the 1950's and 1960's.

Correspondence with family, organizations, museums, and associates begins in the early 1930's. The bulk of the collection comprises reviews and comments on Miss Nevelson's work appearing in art magazines. Correspondents include Alexander Calder, Lyonel Feininger, Peggy Guggenheim, Seymour Lipton, Kenneth Hayes Miller, Hugo Robus, and Max Weber.

73. GRACE OVERMYER, GOVERNMENT AND THE ARTS. Owner: Archives of American Art. Donor: Miss Grace Overmyer. 1962.

Correspondence and reports. 1937-1938.

94 replies to a questionnaire sent out to U.S. consular officials around the world, together with reports on government-art relationships in 62 countries as they existed in the 1930's. Data gathered for the foreign section of Miss Overmyer's book, Government and the Arts (New York, 1939), this material represents useful information for a comparative study of United States sponsorship of the arts.

74. RUSSEL DENISON PALMER (1818- ? ). Owner: Louisa Palmer. 1962.

Correspondence, two account books, one photograph. 1837-1843. 73 frames of microfilm.

Records of an itinerant portrait painter in New York state and Michigan in the 1830's and 1840's. The account books and one of the letters, a long autobiographical statement, are particularly useful for information on the economy, training, techniques, and attitudes of a characteristic member of this trade.

75. IRENE RICE PEREIRA (1907- ). Owner: I. Rice Pereira. 1965.

Writings, lectures, notebooks, a diary, scrapbooks, and publications. 1932-1964. 3 microfilm rolls.

A poet and philosopher as well as an abstract painter, Miss Pereira has been a major figure in the New York art world since the mid-1930's. Her notebooks, entitled



"Concept of Substance," contain notes, manuscript essays, quotations, a diary, and reviews. A series of lectures delivered to students attending the Design Laboratory sponsored by the Federal Art Project in the late 1930's is also useful. Several published works by Miss Pereira are included in her papers.

76. ROBERT PHILIPP (1895- ). Owner: Robert Philipp. 1966.

Correspondence, clippings, exhibition catalogues, articles, and photographs. 1933-1965. 183 frames of microfilm.

Papers of a New York figure and portrait painter, this small collection consists chiefly of published material reflecting a successful career.

77. HORACE PIPPIN (1888-1946). Owner: Archives of American Art. Purchase from

Robert Carlen. 1956.

Writings and one letter. n.d.

A small group of papers reflecting the life of this

Negro primitive painter. Four separate fragments, one of them illustrated, describe his life at the front in the first World War. A two page autobiographical letter

expresses his views on art. These documents were used

by Selden Rodman for his Horace Pippin; a Negro Painter in America (N.Y., 1947).

78. MORRIS LEON RADOFF (1905- ). Owner: Archives of American Art. Donor: Morris L. Radoff. 1964.

Correspondence, reports, lists, memoranda, and data sheets. 1938-1939. 2 microfilm rolls.

Records kept by Morris L. Radoff during his service in Baltimore as Regional Editor and Regional Super- visor of the Historical Records Survey, one of the WPA cultural projects. The correspondence and reports on editorial policies and procedures yield much useful information on the administration of the Survey.

79. ABRAHAM RATTNER (1895- ). Owner: Abraham Rattner. 1965-1966.

Correspondence, notes, a journal, photographs, writings, and publications. 1932-1962. 5 microfilm rolls.

Most of the Rattner Papers are contained in a series of 55 notebooks which include personal and business

correspondence, a journal, and miscellaneous manu-

script and published material. These provide a thor-

ough picture of the artist's development and theories. A

large number of photographs of works and biographical information in notes, articles and a book are also useful.

80. REHN GALLERY. Owner: John Clancy, Rehn Gallery. 1959, 1966.

Correspondence, business records, clippings, cata-

logues, and miscellaneous publications. 1917-1958. 8 microfilm rolls.

The Rehn Gallery Papers -are in two series. One

comprises published material, chiefly catalogues and reviews of gallery shows. The other consists of the

gallery correspondence of Frank K. M. Rehn, who established himself as a dealer in New York in 1918. This correspondence, both incoming and outgoing, with artists, collectors, museums, critics, and other dealers covers the period from the end of 1918 through 1927. Lists, notes, receipts, and details of insurance

coverage are also present. The papers contain useful information on such subjects as the beginning struggles of a gallery, the operation of the New York art market in the 1920's, and the activities of certain leading collectors, most notably Duncan Phillips, John Gellatly, and John T. Spalding. Among artist correspondents are George Bellows, Glenn O. Coleman, Andrew

Dasburg, Daniel Chester French, Charles W. Haw- thorne, Robert Henri, Edward Hopper, Leon Kroll, George Luks, Gari Melchers, Charles Hovey Pepper, Eugene Speicher, Allen Tucker, and Mahonri Young.

81. PHILIP REISMAN (1904- ). Owner: Philip Reisman. 1966.

Scrapbook and a record of paintings. 1932-1965. 234 frames of microfilm.

Catalogues and clippings trace the career of this New York figure painter. A manuscript listing pro- vides a complete record of his work from 1932.

82. RICHARD GOTTLEIB REUTHER. (1859-1913). Owner: The Reuther Family. 1961.

Correspondence, business records, sketchbooks, travel journals, photographs, notes, and publications. 1848-1914. One microfilm roll.

A Detroiter, Richard G. Reuther was a sculptor and

designer. His papers, chiefly useful for information on his business affairs, include correspondence in German among members of the family both in this

country and in Germany during the 1850's.

83. JAMES NAUMBURG ROSENBERG (1874- ). Owner: Archives of American Art. Donor: James N. Rosenberg. 1960.

Correspondence, photographs, writings, articles, catalogues, and other publications. 1917-1960. One microfilm roll.

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Papers of a lawyer, public official, and painter. His

correspondence, which includes copies of letters sent, is chiefly with museums and collectors. Letters written in the 1920's from and to such figures as Hamilton Easter Field, Mitchell Kinnerley, Alfred Jay Nock, Walter Pach, Lee Simonson, Henry L. Stimson, and

Guy Wiggins are especially interesting.

84. ALBERT ROSENTHAL (1863-1939). Owner: Archives of American Art. Donor: Albert Duveen. 1960.

Correspondence, biographical notes, photographs, catalogues, clippings, and other publications. 1860- 1939. 4 microfilm rolls.

A member of a Philadelphia family of lithographers, Albert Rosenthal turned to portrait painting and conducted a voluminous correspondence with artists and

political figures. His papers include notes and published material on a number of subjects related to art history, but the major portion of the collection consists of letters from such diverse individuals as Samuel Putnam Avery, Louis D. Brandeis, Thomas B. Clarke, Hunt Diederich, Daniel Garber, Sadakichi Hartmann, Oliver Wendell

Holmes, Robert Todd Lincoln, George Luks, A. Mitchell Palmer, Alfred Stieglitz, William Howard

Taft, and J. Alden Weir.

85. THOMAS PRICHARD ROSSITER (1818-1871). Owner: Archives of American Art. Donor: Mrs. W. T. Bevan. 1957.

Correspondence, a list of paintings, and a manuscript biography. 1840-1956. 287 frames of microfilm.

Letters to Rossiter, a historical, religious, and portrait

painter, while not numerous, are from some major 19th century figures, among them Christopher P.

Cranch, George W. Curtis, Edward Everett, G. P. A.

Healy, John F. Kensett, N. P. Willis, and Samuel F. B. Morse in an 1840 letter of introduction to Horatio

Greenough. A second series comprises letters to Rossi- ter's grandson, Ehrick Kensett Rossiter, as well as to other members of the family from Edwin Blashfield,

Jay Hambidge, Will Low, Gari Melchers, Frederic

Remington, and D. W. Tryon. The biography and check list were compiled by a granddaughter, Mrs. Bevan.

86. ALBERT PINKHAM RYDER (1847-1917). Owner: Harold O. Love. 1965.

Correspondence, writings, clippings, and articles. 1869-1927. 83 frames of microfilm.

A small but useful collection of Ryder material which includes five letters and six manuscript poems by the artist and miscellaneous writings on him by,

14

among others, Philip Evergood. Several clippings and notes on Ryder and his family background complete the group.

87. MRS. ANSLEY W. SAWYER. Owner: Mrs. Ansley W. Sawyer. 1966.

Correspondence. 1916-1965. 435 frames of microfilm.

Letters to Mrs. Ansley W. Sawyer, a collector and friend of artists, from Edwin Dickinson, Carl Milles, and Nicholas Vasilieff. Those of Edwin Dickinson form the largest group and provide a good supplement to his diary, filmed for the Archives in 1962, which covers much the same period of time. Many of the letters contain details on their writer's activities and works.

88. WILLIAM SAMUEL SCHWARTZ (1896- ). Owner: William Samuel Schwartz. 1961.

Correspondence, biographical information, cata-

logues, photographs, and clippings. 1921-1960. 7 microfilm rolls.

Papers of a contemporary Chicago painter. The

major portion of this material is a series of Art Insti- tute of Chicago and Pennsylvania Academy of the Fine Arts exhibition catalogues. Letters from institutions and collectors extend back to 1921.

89. SCULPTORS GUILD. Owner: Archives of American Art. Donor: Sculptors Guild. 1966.

Correspondence, minutes, financial records, reports, press releases, photographs, and scrapbooks. 1937- 1955. 4 microfilm rolls.

Official records of the Sculptors Guild, organized in 1937 "to unite sculptors of progressive tendencies, to

promote sculpture as an art and a profession, and increase its standing in the community." Biographical information on members is useful. In addition to

reflecting the history of the organization, these papers form a valuable complement to similar records of the older National Sculpture Society.

90. CHARLES SHEELER (1883-1965). Owner: Mrs. Charles Sheeler. 1959, 1965.

Correspondence, photographs, a notebook, and miscellaneous publications. 1939-1965. One microfilm roll.

A small collection of Sheeler material. The most notable single item is a notebook containing copies of letters written, a short article, a poem, proverbs, and a

"Paper read at a Symposium on Photography" at the Museum of Modern Art in 1950.



91. FREDERICK FAIRCHIID SHERMAN (1874-1940). Owner: Archives of American Art. Donor: Mrs. Frederick Fairchild Sherman. 1956.

Correspondence, writings, photographs, articles, clippings, and publications. 1890-1942.

Papers, mostly printed matter, of an art critic, historian, editor of Art in America, and private printer. Some correspondence and drafts of articles are in manuscript, but the bulk of the collection is in the form of books written or printed by Sherman and a large number of catalogues and reference material.

92. DAVID SMITH (1906-1965). Owner: The David Smith Estate. 1965.

Correspondence, sketch and notebooks, sketches, lectures, photographs, scrapbooks, articles, catalogues, and miscellaneous publications. 1926-1965. 7 microfilm rolls.

A large and unusually rich collection of papers of one of the most important American sculptors of this century. Early documentation is limited, but after 1940 it increases in both quality and quantity. The notebooks, lectures, and voluminous snapshots of sculpture taken by the artist are particularly valuable for the light they throw on the development of his work and thought. Correspondents include Alexander Calder, Herman Cherry, Robert M. Coates, Helen Franken- thaler, Clement Greenberg, Robert Motherwell, Kenneth Noland, George Rickey, and Marian Willard.

93. ELMER BOYD SMITH (1860-1926). Owner: Mr. and Mrs. Charles Wilding. 1963.

A diary. 1882-1888. One microfilm roll.

Elmer Boyd Smith's journal covers the years 1882- 1884 when he was a student abroad, and 1887-1888 when he was an itinerant portrait painter and teacher in the Midwest. A vivid account of the struggles of an artist to establish himself. The diary ends in November 1888 with Smith as director of the newly formed Kansas City Art Association School. Some clippings on the same institution are also included.

94. SOCIETY OF ARTS AND CRAFTS, DETROIT. Owner: Archives of American Art. Donor: Society of Arts and Crafts. 1965.

Correspondence, students' records, scrapbooks, photographs, clippings, and publications. 1895-1950. 3 microfilm rolls.

Organized in 1906 as a part of a nation-wide movement "to encourage good and beautiful work as applied to useful service," the Society of Arts and Crafts was one

of the first two institutions in this country to arrange exhibitions, sales, and lectures designed to stimulate public interest in fine craftsmanship. In 1926 a four- year course of art instruction was organized by the Society, which ultimately brought about a shift in emphasis from crafts to painting, sculpture, and com- mercial art. The Society's records, especially the scrapbooks and publications, reflect the history of this Detroit institution.

95. MOSES SOYER (1899- ). Owner: Moses Soyer. 1965, 1966.

Correspondence, photographs, writings, catalogues, articles, and clippings. 1937-1965. One microfilm roll.

Selected papers of this well-known figure painter. Correspondence, which includes some retained copies and some illustrated letters, dates chiefly from the past 20 years. The collection also contains a large number of photographs.

96. MRS. OTTO L. SPAETH. Owner: Mrs. Otto L. Spaeth. 1966.

Scrapbooks. 1941-1948. One microfilm roll.

Two volumes containing correspondence, clippings, reviews and photographs relating to the Dayton Art Institute and to the Religious Art Exhibition held there in 1944.

97. SPOLETO "FESTIVAL OF TWO WORLDS." Owner: Giovanni Carandente. 1963.


An Italian art critic, Giovanni Carandente served in 1963 as art director of the Spoleto "Festival of Two Worlds." His correspondence in this connection with Alexander Calder, Herbert Ferber, Boris Lurie, and David Smith contains much information on their work included in the show.

98. ALFRED STEBBINS AUTOGRAPH COLLECTION. Owner: Henry F. du Pont Winterthur Museum.

1965.


47 artists' letters solicited by Alfred Stebbins, librarian of the San Francisco Mercantile Library Associa- tion, and pasted in his copy of Henry T. Tuckerman's Book of the Artists. Amongotherwriters are Christopher P. Cranch, F. O. C. Darley, Sanford R. Gifford, Eastman Johnson, Miner K. Kellogg, John F. Kensett, Samuel F. B. Morse, Erastus D. Palmer, George H. Smillie, John Vanderlyn, and Worthington Whittredge.

15



99. JOHN STORRS (1885-1956). Owner: Downtown Gallery. 1965.

Scrapbook. 1911-1939. One microfilm roll.

Exhibition catalogues and press clippings on the work of an American sculptor who studied under Rodin and who was a prominent figure in the 1920's and 1930's.

100. ROY EMERSON STRYKER (1893- ). Owner: Roy Emerson Stryker. 1964, 1965.

Correspondence, reports, articles and other publications. 1932-1962. 3 microfilm rolls.

In the late 1930's Roy Stryker was chief of the Farm

Security Administration's historical section which

produced thousands of rural depression scene photographs. His papers consist of articles and typescripts describing this project and correspondence and reports reflecting its operation. Letters are included from John Collier, Walker Evans, Dorothea Lange, Edwin Locke, Marion Post, Arthur Rothstein, and John Vachon.

101. JOSEPH TUBBY (1821-1893). Owner: Archives of American Art. Donor: Miss Gertrude O. Tubby. 1956.

Correspondence, sketchbooks, photographs, and

clippings. 1851-1885.

A small group of papers of an amateur follower of the Hudson River School. Two letters to Tubby from the painter Jervis McEntee are especially useful.

102. VACLAV VYTLACIL (1892- ). Owner: Vaclav Vytlacil. 1966.

Correspondence, lists, and a journal. 1920-1940. One microfilm roll.

An abstract painter, Vaclav Vytlacil studied in

Chicago, at the Art Students League in New York, and later under Hans Hofmann at Munich and in Italy. His letters to his wife tell of his art studies and travels in the early 1920's. Mrs. Vytlacil's journal is useful for its descriptions of the remnants of the American art colony in Paris during the early depression period.

103. HARRIET ENDICOTT WAITE. Owner: Archives of American Art. Donor: Harriet Endicott Waite. 1956.

Correspondence, notes, photographs, lists, articles, and clippings. 1923-1930.

Miss Waite's papers deal chiefly with her researches on Currier and Ives prints and on the artists who produced them. Her correspondence on this subject is informative and her card file comprising a Currier and Ives "Index to Titles" is a comprehensive guide. 16

104. HUDSON DEAN WALKER (1907- ). Owner: Archives of American Art. Donor: Hudson D. Walker. 1966.

Correspondence, business records, reports, photographs, publicity material, articles, catalogues, and miscellaneous publications. 1920-1965.

A large collection of the papers of a collector, gallery owner, administrator, and patron. Family, art, and

organizational correspondence form the bulk of the group, which also includes many official documents

relating to the American Federation of Arts and Artists Equity. Letters from a number of contemporary painters and sculptors are contained among the personal records. Since Hudson Walker worked closely with Elizabeth McCausland in her studies of Marsden Hartley and Alfred Maurer, his papers supplement hers in many respects.

105. ABRAHAM WALKOWITZ (1880-1965). Owner: Archives of American Art. Donor: Dr. Rosa E. Prigosen. 1966.

Correspondence, photographs, catalogues, articles, and clippings. 1912-1958.

Chiefly letters to and photographs of Abraham Walkowitz, this collection concentrates on the period of the 1930's and 1940's. Several manuscript statements of the artist are included. Correspondents include

Henry Miller, John Sloan, Alfred Stieglitz, and Max Weber.

106. CARL WALTERS (1883-1955). Owner: Archives of American Art. Donors: Mrs. Noelle Gillmor and William I.

Homer. 1965, 1966.

Correspondence, business records, writings, a diary, photographs, clippings, and publications. 1917-1953. One microfilm roll.

A ceramic sculptor, Carl Walters was a well-known

figure in the Woodstock art community for many years. His papers, particularly a diary and manuscript writings, are a good source of information on his work and on Woodstock in the 1930's and 1940's.

107. WEITZNER GAI,,ERY. Owner: Archives of American Art. Donor: Julius H. Weitzner. 1963.

Photographs, clippings, articles, catalogues, reproductions, notes, and correspondence. 1852-1939.

A large collection of reference material on American art with special emphasis on early portraiture. The major portion of this group consists of the files of the



DeForest Art Library which includes correspondence with Charles Henry Hart, an authority on Colonial and Federal portraits. Photographs and fragments of priced auction catalogues are useful.

108. WILLARD GAIIERY. Owner: Marian Willard Johnson. 1959,1965.

Notebooks containing photographs and other material on the work of Morris Graves, David Smith, and Mark Tobey. A card file on David Smith sculpture handled by the Willard Gallery has much useful detail.

109. SOL WILSON (1896- ). Owner: Sol Wilson. 1965.

Correspondence and clippings. 1947-1962. One microfilm roll.

Chiefly institutional correspondence of a prominent New York painter, with a separate series from Wilson's dealer, the Babcock Galleries. Other writers include Louis Bouch6, David Burliuk, Philip Evergood, and Edward Hopper.

112. JEAN XCERON (1890- ). Owner: Jean Xceron. 1966.

Correspondence, catalogues, and clippings. 1931- 1961. One microfilm roll.

Records of a prominent non-objective painter, this collection includes letters from artists, institutions, collectors, and dealers as well as printed material on Xceron's exhibitions.

113. ADJA YUNKERS (1900- ). Owner: Archives of American Art. Donor: Adja Yunkers. 1966.

Gallery literature, articles, press releases, and clippings. 1941-1965. One microfilm roll.

Papers of a painter and graphic artist frequently represented in group exhibitions since the early 1940's. The collection consists of over a hundred gallery and museum catalogues together with biographical data and reviews.

TAPE-RECORDED INTERVIEWS

110. MR. AND MRS. HARRY L. WINSTON COLLECTION. Owner: Mrs. Lydia Winston Malbin. 1965.

Correspondence, notes, card files, photographs, catalogues, articles, and clippings. 1912-1965. 8 microfilm rolls.

The art collection of Mr. and Mrs. Harry L. Winston of Birmingham, Michigan, places particular emphasis on the Futurists and their successors. The comprehensive documentation on the background of each work in this important collection is an invaluable source of information which reflects the history of the Winston's collecting activities as well as the results of their researches. An extremely well-organized archive of a superior art collection.

111. GRANT WOOD (1892-1942). Owner: Archives of American Art. Donor: Doubleday & Co. 1958.

Autobiographical fragment. c. 1941. 135 frames of microfilm..

A typescript comprising the beginning of an autobiography "Return from Bohemia" by Grant Wood. His Iowa childhood years are sensitively described, but the account stops before the artist reaches maturity.

The tape-recorded interview has become accepted by historians as an important source of information on

contemporary individuals and events, particularly where it supplements documentary records. The follow-

ing list of artists and others involved in the art world

represents the Archives' continuing efforts to provide this form of primary information to scholars. Tran-

scripts of these interviews have been made, but permission to consult them must be received from the persons interviewed.

Supplement to those already listed in

January 1965 Journal.

Borgenicht, Grace Brooks, James Christ-Janer, Albert Dines, James Ferber, Herbert Ferren, John Georges, Pail

Goldberg, Elias Golub, Leon Grillo, John Gropper, William

Halper, Nathan

Huntington, Anna Hyatt Judd, Donald Klonis, Stuart Krasner, Lee

Lindner, Richard

Lipton, Seymour Marca-Relli, Conrad Matson, Henry Nevelson, Louise

Newman, Arnold

Oldenberg, Claes Pavia, Phillip Rebay, Hilla von

Reinhardt, Ad Sander, Ludwig Schoonover, Frank

Segal, George Sievan, Maurice Stamos, Theodoros

Zogbaum, Wilfred

17



ADDITIONAL TAPE-RECORDED INTERVIEWS ON THE SUBJECT OF THE NEW DEAL ART PROJECTS.

Supplement to those listed in January 1965 Journal.

Abel, Don Adams, Kenneth Aiken, Charlotte Albinson, Dewey Alessandro, Victor Baldwin, C. B. Barrows, Charles Bartlett, Fred Biberman, Edward Bischoff, Elmer Bisttram, Emil Blanch, Arnold Block, Lou

Boyd, E.

Brigante, Nick Bruce, Mrs. Edward Bufano, Beniamino Callahan, Kenneth

Cassidy, Mrs. Gerald

Chapman, Kenneth Chavez, Edward

Cherry, Herman Chinn, Andrew Colin, Ralph Collier, John Collier, Nina Constantine, Mildred

Crampton, Rollin Cravath, Dorothy Crawford, Phyllis Crockwell, Douglass Cunningham, Benjamin Curtis, Philip Daniels, Jonathan Danysh, Joseph Defenbacher, Daniel

Dickey, Roland Diller, Burgoyne Dixon, Harry Dornbush, Adrian

Emery, Edwin Everett, Eugenia Farr, Charles Griffin Flint, LeRoy Fox, Milton Frankenstein, Alfred Freeman, Don Friedman, William Gaethke, George Gerrity, John Emmett

Gershoy, Eugenie Gibbs, Howard Gikow, Ruth Gilbertson, Boris

Glassgold, Cook Gorelick, Boris Graham, F. Wynne Green, Paul Greenwood, Grace Groschwitz, Gustave von Groves, Wellington Gunther, Dr. Erna

Halpert, Edith Hatch, John Davis Hauser, Alonso Hewes, Harry Hirsch, Joseph Holty, Carl Hood, Richard

Javitz, Romana Kantor, Morris Kerr, Florence

Kingman, Dong Knight, Harry LaFarge, Henry Laning, Clair Laufman, Sidney Lee, Doris Lowe, Peter

Magafan, Ethel Martin, Fletcher

Messenger, Ivan Messick, Ben

Mydans, Carl Newhall, Beaumont Norvelle, Lee Nusbaum, Jesse L. Parks, Gordon

Partridge, Charlotte Pollack, Peter Pollock, Merlin Post, George Booth Randall, Byron Rexroth, Kenneth

Rickey, George Rosen, David Rosenwald, Janet Rothschild, Lincoln

Sawyer, Charles Schanker, Louis

Siporin, Mitchel

Tugwell, Mr. and Mrs. Rexford G. Ulbricht, Elsa Vachon,John Vanderbilt, Paul Westcott, Harold White, Charles

Wyllie, Tom

18



Documents

Preliminary Guide to the Collections Part II || A Preliminary Guide to the Collections of the Archives of American Art: Part II