Primarily exhibition catalogs for modernist art exhibitions held in New York City during the first two decades of the twentieth century. Also included are catalogs for Boston exhibitions, mainly pre-1900, and a few other locales; exhibition announcements; gallery publications; and other printed material.
The Victor D. Spark papers measure 22.2 linear feet and date from circa 1830 to 1983, with the bulk of the material from 1930 to 1970. The papers document Spark's career as a New York City art dealer and appraiser who was most active from World War II through the 1970s, focusing on Old Masters paintings and 19th and early 20th century American art. Found within the papers are biographical materials, artist files, client files, financial records, legal records, printed material, and photographs.
The papers of art historian, art critic, author, librarian and educator Ellen Hulda Johnson measure 55.3 linear feet and date from 1872-1994, with the bulk of the material dating from 1921-1992. The papers include biographical materials; personal and family files; personal, professional, and business correspondence; extensive research and writing files; teaching files; subject files; professional and curatorial files; and artists' files. Johnson's papers reflect the full range of her career, interests, and close relationships with many artists.
The papers of New York art collector Chester Dale measure 8.4 linear feet and date from circa 1883-2003. Dale amassed one of the world's most complete collections of nineteenth and twentieth century French art, was a collector of eighteenth century American portraitists, and a patron and collector of twentieth American artists including George Bellows and Mary Cassatt. The bulk of the collection dates from 1920 to 1970 and documents Dale's activities through biographical material, correspondence, memoirs and other writings, purchase, sales and estate records, printed material, scrapbooks, and photographs.
The papers of William Couper date from 1872 through 1971 with the bulk of the material dated 1872 through 1908. The collection consists of 0.9 linear feet of letters, photographs, and printed material that document William Couper's career as a sculptor and his family life. Letters are from Couper and his wife to his parents, and to his brother John, discussing family matters, his art training, his travels, and his work in New York. There are also several letters from his father-in-law, sculptor Thomas Ball.
The papers of art historian, curator, and professor Robert Rosenblum measure 38.3 linear feet and 1.17 GB and date from circa 1927 to 2009, with the bulk dating from 1950 to 2006. They include biographical material, extensive personal and professional correspondence; lectures, writings, and writing project files by Rosenblum and others; exhibition files; research reference files; teaching files; personal business records; printed and digital material; photographs; and artwork.
The James D. Smillie and Smillie family papers measure 5.6 linear feet and date from 1853 to 1957. The collection consists of the papers of four members of the Smillie family including James Smillie, his sons James David and George Henry Smillie, and George's wife, Helen 'Nellie' Jacobs Smillie. The majority of the papers are those of James D. Smillie, comprised of correspondence, forty-five daily diaries, a scrapbook, printed materials, and one etching. The papers of James Smillie consist of biographical materials and writings. The George Smillie papers include biographical materials, scattered correspondence, a scrapbook, printed materials, and photographs. The Helen Jacobs Smillie papers include corrrespondence and photographs. Also found are scattered materials relating to other family members, mostly the children of Helen Jacobs and George Smillie.
This accession consists of exhibition records created and maintained by the Exhibitions Manager, Marie Elena Amatangelo, in her work planning and coordinating exhibitions at the Smithsonian American Art Museum and the Renwick Gallery. Exhibitions represented include "High Fiber;" "Modernism in American Silver: 20th Century Design;" "American ...
The records of Owen Gallery measure 9.4 linear feet and 0.093 GB and date from 1929-2010, bulk 1980-2010. The gallery, which operated from 1986 to 2009 in New York, specialized in late nineteenth and early twentieth century American art with an emphasis on The Eight, Ashcan, and early American modernism. Michael Owen and James Yost owned and directed the gallery. Found within the records are exhibition files; inventory and sales records; printed and digital material; and records regarding painter Yasuo Kuniyoshi. Material dating from before 1986 when the gallery was established is research related to an artwork's provenance.
The papers of art historian, curator, and educator Patricia Hills measure 23.1 linear feet and date from circa 1900-2015, bulk 1968-2009. Central to this collection are project files documenting professional work that resulted in lectures, publications, exhibitions, art history courses on numerous artists including Alice Neel, Jacob Lawrence, May Stevens, Rudolf Baranik, and John Singer Sargent. These files and files documenting Hills's tenure at the Whitney Museum of American Art include planning documents, research files, correspondence, manuscripts and accompanying publications, as well as other printed materials. The collection also contains correspondence with art historians, artists, curators, and others, notably Lawrence Alloway, Lowery Stokes Sims, Lucy R. Lippard, T.J. Clark, Leon Golub, and Donald Kuspit; professional files documenting grants and residencies awarded and consulting work; artist and subject files; other writings; and printed material. Membership and affiliation records document Hills' service to the profession, including Women's Caucus for Art and the Visual Culture/Art History Caucus of the American Studies Association.