Acquisitions: Fourth Quarter 1967

The Smithsonian Institution

Acquisitions: Fourth Quarter 1967Source: Archives of American Art Journal, Vol. 8, No. 1 (Jan., 1968), pp. 21-23Published by: The Smithsonian InstitutionStable URL: http://www.jstor.org/stable/1556900 .

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this note was taken out so it wouldn't date the catalogue.

HW Well, as far as I know we still have all the paintings that were listed there, and there were just a few more-that's it.

ACQUISITIONS FOURTH QUARTER-1967

Art Collectors Club of America Donor: American Federation of Arts

Records of this organization of contributors to the American Federation of Arts traveling exhibitions. Minutes, lists, photographs and correspondence concerning meetings, dinners and exhibitions cover the period from 1956 to 1966.

lean Chariot (1898- Donor: Jean Chariot

A descriptive catalogue of Chariot's works, 1911- 1967, in the form of a Xeroxed copy of his own typescript. One volume.

Anne Goldthwaite (1869-1944) Donor: Lucy Goldthwaite

Exhibition catalogues, clippings, and photographs dealing with the work of Miss Goldthwaite, a New York painter and teacher. The collection, which also includes personal photographs, supplements a previously received reminiscence of her childhood and her work in Paris and New York.

Harry Gottlieb (1895- Donor: Harry Gottlieb

Correspondence, photographs and printed material relating to Harry Gottlieb's activities over the past forty years. Most of these papers deal with the 1930's when the Artists Union and the Artists Congress played an important role in the lives of New York artists. The fugitive leaflets and other publications of these organizations consti- tute an important record of that period. Among other useful items is Max Weber's manuscript of an article written for Art Front and documentation on the early years of Artists Equity Association.

Richard Lippold (1915- Donor: Richard Lippold

The Papers of this important sculptor comprise correspondence (1945-1967), manuscripts of articles

this note was taken out so it wouldn't date the catalogue.

HW Well, as far as I know we still have all the paintings that were listed there, and there were just a few more-that's it.

ACQUISITIONS FOURTH QUARTER-1967

Art Collectors Club of America Donor: American Federation of Arts

Records of this organization of contributors to the American Federation of Arts traveling exhibitions. Minutes, lists, photographs and correspondence concerning meetings, dinners and exhibitions cover the period from 1956 to 1966.

lean Chariot (1898- Donor: Jean Chariot

A descriptive catalogue of Chariot's works, 1911- 1967, in the form of a Xeroxed copy of his own typescript. One volume.

Anne Goldthwaite (1869-1944) Donor: Lucy Goldthwaite

Exhibition catalogues, clippings, and photographs dealing with the work of Miss Goldthwaite, a New York painter and teacher. The collection, which also includes personal photographs, supplements a previously received reminiscence of her childhood and her work in Paris and New York.

Harry Gottlieb (1895- Donor: Harry Gottlieb

Correspondence, photographs and printed material relating to Harry Gottlieb's activities over the past forty years. Most of these papers deal with the 1930's when the Artists Union and the Artists Congress played an important role in the lives of New York artists. The fugitive leaflets and other publications of these organizations consti- tute an important record of that period. Among other useful items is Max Weber's manuscript of an article written for Art Front and documentation on the early years of Artists Equity Association.

Richard Lippold (1915- Donor: Richard Lippold

The Papers of this important sculptor comprise correspondence (1945-1967), manuscripts of articles and lectures, teaching outlines, statements on art, photographs, exhibition catalogues, articles and press clippings. The correspondence, which includes some retained copies of Lippold's letters, deals

and lectures, teaching outlines, statements on art, photographs, exhibition catalogues, articles and press clippings. The correspondence, which includes some retained copies of Lippold's letters, deals

chiefly with various commissions. There are also letters from such figures as Josef Albers, William Baziotes, John Cage, Joseph Cornell, Naum Gabo, Morris Graves, Walter Gropius, George Rickey, Mark Rothko and Mark Tobey.

Paul Magriel (1916- Donor: Paul Magriel

Correspondence, chiefly with museums, of this notable collector and writer, 1940-1967, together with a series of exhibition catalogues.

Milch Gallery Donor: The Milch Gallery

A portion of the records of this prominent New York art gallery, covering a period of fifty years. Most of the collection consists of folders containing catalogues and reviews of some 160 Milch Gallery exhibitions. Over 300 photographs are also included, together with scrapbooks, a card file of paintings sold, miscellaneous publications, and some early correspondence from such figures as George Bellows, George De Forest Brush, Bruce Crane, Anne Gold- thwaite, Childe Hassam, Robert Henri, Gari Melchers, Willard Metcalf and J. Alden Weir.

Raphael Soyer (1899- Donor: Raphael Soyer

Correspondence, including some retained copies (1959-1967), a notebook of reflections and reminis- ences, and exhibition catalogues, all representing an addition to papers previously given by this notable painter. Correspondents include Leonard Baskin, Peter Blume, David Burliuk, Philip Evergood, Robert Gwathmey, Joseph Hirsch, Edward Hopper and Marianne Moore. A few of the letters as well as several sketchbooks were lent for microfilming.

PAPERS LENT FOR MICROFILM REPRODUCTION

American Watercolor Society Owner: American Watercolor Society

Records of an organization in existence since 1866, this material includes minutes, an account book (1891-1898), reports, photographs, and exhibition catalogues, as well as "A History of the American Watercolor Society, 1866-1950," by Frank Gervasi. A separate series comprises records of the American Watercolor Club (1890-1941), which merged with the American Watercolor Society in 1942.

chiefly with various commissions. There are also letters from such figures as Josef Albers, William Baziotes, John Cage, Joseph Cornell, Naum Gabo, Morris Graves, Walter Gropius, George Rickey, Mark Rothko and Mark Tobey.

Paul Magriel (1916- Donor: Paul Magriel

Correspondence, chiefly with museums, of this notable collector and writer, 1940-1967, together with a series of exhibition catalogues.

Milch Gallery Donor: The Milch Gallery

A portion of the records of this prominent New York art gallery, covering a period of fifty years. Most of the collection consists of folders containing catalogues and reviews of some 160 Milch Gallery exhibitions. Over 300 photographs are also included, together with scrapbooks, a card file of paintings sold, miscellaneous publications, and some early correspondence from such figures as George Bellows, George De Forest Brush, Bruce Crane, Anne Gold- thwaite, Childe Hassam, Robert Henri, Gari Melchers, Willard Metcalf and J. Alden Weir.

Raphael Soyer (1899- Donor: Raphael Soyer

Correspondence, including some retained copies (1959-1967), a notebook of reflections and reminis- ences, and exhibition catalogues, all representing an addition to papers previously given by this notable painter. Correspondents include Leonard Baskin, Peter Blume, David Burliuk, Philip Evergood, Robert Gwathmey, Joseph Hirsch, Edward Hopper and Marianne Moore. A few of the letters as well as several sketchbooks were lent for microfilming.

PAPERS LENT FOR MICROFILM REPRODUCTION

American Watercolor Society Owner: American Watercolor Society

Records of an organization in existence since 1866, this material includes minutes, an account book (1891-1898), reports, photographs, and exhibition catalogues, as well as "A History of the American Watercolor Society, 1866-1950," by Frank Gervasi. A separate series comprises records of the American Watercolor Club (1890-1941), which merged with the American Watercolor Society in 1942.

Chester Beach (1881-1956) Owner: Mrs. Paul Fitchen

Papers of the well-known early 20th century

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Chester Beach (1881-1956) Owner: Mrs. Paul Fitchen

Papers of the well-known early 20th century

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sculptor, including a limited quantity of business and family correspondence (1908-1947), sketchbooks, photograph albums, biographical and family information, scrapbooks, statements on art, exhibition catalogues (1912-1966), and a list of photographs of works. The collection also contains a series of diaries kept by Mrs. Beach between 1929 and 1951.

Clarence Carter (1904- ) Owner: Clarence Carter

Business, professional and personal correspondence of this New York painter whose records of his work with government art projects are already a part of the Archives. This new material, chiefly letters from dealers and museums during the period after 1945, together with a few retained copies, consists of over 400 items.

Eliot Clark (1883- ) Owner: Eliot Clark

Papers of a painter and writer on American art. Correspondence, notes and exhibition catalogues are supplemented by copies of a number of Clark's magazine articles published between 1918 and 1961.

Paul Manship (1885-1966) Owner: John Manship

An addition to the Paul Manship Papers filmed in 1959, this collection comprises a series of calendar notebooks, 1925-1965, and a small group of clippings and miscellaneous publications.

Walter Murch (1907-1967) Owner: Mrs. Walter Murch

An addition to the Walter Murch Papers, this group consists of business and family correspondence, 1932-1967, notes, biographical information, sketches, photographs, exhibition catalogues and clippings. Most of the material covers the years since 1945.

Museum of Graphic Art Owner: Museum of Graphic Art

Official records of this recently established institution, including documents relating to the founding of the museum, minutes of the Board of Directors, correspondence relating to the operation of the museum and its exhibitions, reports, lists, photographs, press releases and clippings, 1964-1966.

Ethel (1881-1960) and Jerome Myers (1867-1940) Owner: Mrs. Virginia Downes

A small collection of correspondence, notes, sketches, photographs, biographical information, catalogues and clippings. The manuscript of Jerome

sculptor, including a limited quantity of business and family correspondence (1908-1947), sketchbooks, photograph albums, biographical and family information, scrapbooks, statements on art, exhibition catalogues (1912-1966), and a list of photographs of works. The collection also contains a series of diaries kept by Mrs. Beach between 1929 and 1951.

Clarence Carter (1904- ) Owner: Clarence Carter

Business, professional and personal correspondence of this New York painter whose records of his work with government art projects are already a part of the Archives. This new material, chiefly letters from dealers and museums during the period after 1945, together with a few retained copies, consists of over 400 items.

Eliot Clark (1883- ) Owner: Eliot Clark

Papers of a painter and writer on American art. Correspondence, notes and exhibition catalogues are supplemented by copies of a number of Clark's magazine articles published between 1918 and 1961.

Paul Manship (1885-1966) Owner: John Manship

An addition to the Paul Manship Papers filmed in 1959, this collection comprises a series of calendar notebooks, 1925-1965, and a small group of clippings and miscellaneous publications.

Walter Murch (1907-1967) Owner: Mrs. Walter Murch

An addition to the Walter Murch Papers, this group consists of business and family correspondence, 1932-1967, notes, biographical information, sketches, photographs, exhibition catalogues and clippings. Most of the material covers the years since 1945.

Museum of Graphic Art Owner: Museum of Graphic Art

Official records of this recently established institution, including documents relating to the founding of the museum, minutes of the Board of Directors, correspondence relating to the operation of the museum and its exhibitions, reports, lists, photographs, press releases and clippings, 1964-1966.

Ethel (1881-1960) and Jerome Myers (1867-1940) Owner: Mrs. Virginia Downes

A small collection of correspondence, notes, sketches, photographs, biographical information, catalogues and clippings. The manuscript of Jerome Myers' Artist in Manhattan, a list of his works, and a fragment of Ethel Myers' diary are also included. Some of the correspondents are Louis Eilsliemius,

Myers' Artist in Manhattan, a list of his works, and a fragment of Ethel Myers' diary are also included. Some of the correspondents are Louis Eilsliemius,

Leon Kroll, Walt Kuhn, Henry McBride, Walter Pach and Mahonri Young.

Helen Appleton Read Owner: Helen Appleton Read

Five scrapbooks containing Miss Read's art columns from the Sunday Brooklyn Eagle during the years 1932-1935. Other material includes a lecture, "New Horizons in American Art," on the subject of art in federal buildings, reports on a survey of art in federal buildings, notes on the Hudson River School, and articles on American art from various periodicals.

ARTHUR SCHWIEDER, 1884-1965

The historian seeking an accurate impression of past men and events often finds his view distorted by the weight of documentary evidence dealing with those prominent individuals who enjoyed a good press in their own day. History, we are told, is written by the victors. In a related sense, cultural history is written about the select few who capture the public relations mills of their time. This is especially true of art scholarship. Like Hollywood, the art market operates on the star system, and the brighter the star, the greater the light projected into the future.

Yet a valid account of an epoch requires that a knowledge of glittering reputations be balanced by an awareness of less publicized contributions. A repository of documentary records, therefore, must provide the future scholar information on some of the contemporary figures whose creative talents were acknowledged to a more limited degree than those of the great names.

One such figure was the New York painter and teacher Arthur Schwieder. He was born in Bolivar, Missouri in 1884 and studied at the Chicago Art Institute School in the early years of this century. Like many other mid-western artists and writers of the World War I period, he moved to New York where he acquired a reputation as a book illustrator. Continuing to paint as well, he worked with a marked feeling for color, which, together with a certain experimental quality, prevented his being taken on by orthodox dealers. The Macbeth Gallery thought a series of sketches called "Moods of Nature" held promise, but the vivid color in his oils proved to be unacceptable. "I am afraid these are a little too strong for us yet awhile," Robert Macbeth wrote in 1923 in reference to six paintings submitted for comment.

During this period Schwieder became acquainted

Leon Kroll, Walt Kuhn, Henry McBride, Walter Pach and Mahonri Young.

Helen Appleton Read Owner: Helen Appleton Read

Five scrapbooks containing Miss Read's art columns from the Sunday Brooklyn Eagle during the years 1932-1935. Other material includes a lecture, "New Horizons in American Art," on the subject of art in federal buildings, reports on a survey of art in federal buildings, notes on the Hudson River School, and articles on American art from various periodicals.

ARTHUR SCHWIEDER, 1884-1965

The historian seeking an accurate impression of past men and events often finds his view distorted by the weight of documentary evidence dealing with those prominent individuals who enjoyed a good press in their own day. History, we are told, is written by the victors. In a related sense, cultural history is written about the select few who capture the public relations mills of their time. This is especially true of art scholarship. Like Hollywood, the art market operates on the star system, and the brighter the star, the greater the light projected into the future.

Yet a valid account of an epoch requires that a knowledge of glittering reputations be balanced by an awareness of less publicized contributions. A repository of documentary records, therefore, must provide the future scholar information on some of the contemporary figures whose creative talents were acknowledged to a more limited degree than those of the great names.

One such figure was the New York painter and teacher Arthur Schwieder. He was born in Bolivar, Missouri in 1884 and studied at the Chicago Art Institute School in the early years of this century. Like many other mid-western artists and writers of the World War I period, he moved to New York where he acquired a reputation as a book illustrator. Continuing to paint as well, he worked with a marked feeling for color, which, together with a certain experimental quality, prevented his being taken on by orthodox dealers. The Macbeth Gallery thought a series of sketches called "Moods of Nature" held promise, but the vivid color in his oils proved to be unacceptable. "I am afraid these are a little too strong for us yet awhile," Robert Macbeth wrote in 1923 in reference to six paintings submitted for comment.

During this period Schwieder became acquainted with N. E. Montross, whose gallery, one of the most influential in New York, later handled the artist's work. A one-man show held there in 1933 was a

with N. E. Montross, whose gallery, one of the most influential in New York, later handled the artist's work. A one-man show held there in 1933 was a

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Documents

Acquisitions: Fourth Quarter 1967