Archives Directory for the History of Collecting in America
Archives related to: Rebay, Hilla, 1890-1967
| title | Hilla Rebay papers, 1921-1963. | repository | Archives of American Art |
| description | Photographs, printed material, and court records. REEL 74: Exhibition announcements, postcards, and catalogs from the Guggenheim Foundation Museum of Non-Objective Painting, including exhibitions for Bauhaus artist Laszlo Maholy-Nagy and Rebay; a 1921 issue of "Der Sturm," a modern art magazine from Berlin; and photographs of Rebay and the architectural model of the new Solomon R. Guggenheim Museum. REEL 3481: A record (171 p.) of the hearing before the Tax Court of the United States, "Hilla Rebay, Petitioner, vs. Commissioner of the Internal Revenue, Respondent," January 1963. The case involved the Government dispute over the value of art work claimed as deductions for tax purposes. |
| extent | 0.2 linear ft. (on 2 partial microfilm reels) reels 74 & 3481 |
| formats | Photographs Printed Materials Legal Records |
| access | Patrons must use microfilm copy. |
| record source | http://www.siris.si.edu/ |
| acquisition information | Provenance of material on reel 74 is unknown. Material on reel 3481 donated by the Art Dealers Association of America, 1963, who participated in the legal case by designating expert witness for the government to testify as to the market value of paintings. |
| updated | 03/16/2023 10:29:53 |
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| title | Oral history interview with Hilla Rebay, 1966. | repository | Archives of American Art |
| description | Interview of Hilla Rebay conducted in 1966 by Bruce Hooton for the Archives of American Art. |
| extent | Sound recording: 1 sound tape ; 7 in. Transcript 11 p. |
| formats | Sound Recording Transcript Online Transcript |
| access | Contact repository for restrictions and policies. |
| record source | http://www.siris.si.edu/ |
| finding aid | Online Transcript |
| acquisition information | These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others. |
| updated | 11/12/2014 11:29:50 |
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| title | Hannes Beckmann papers, 1930-1980. | repository | Archives of American Art |
| description | Biographical sketches and resumes; a list of lectures; correspondence; illustrated notes, typescripts of lectures and other unpublished writings; 21 photographs of Josef Albers; exhibition catalogs; printed material; a subject file on Hilla Rebay containing memos and notes; papers concerning the Museum of Non-Objective Painting, NYC; a photograph of Frank Lloyd Wright, Rebay, and Solomon R. Guggenheim with a model of the Guggenheim Museum; "Hostess Reports"; catalogs, clippings, and other miscellaneous printed material. Bio / His Notes: Painter and lecturer; Boston, Mass. and Hanover, N.H. Born in Germany. Taught at the Bauhaus. |
| extent | ca. 300 items (on 1 microfilm reel) reel 2526 |
| formats | Correspondence Photographs Writings Notes Ephemera |
| access | Patrons must use microfilm copy. |
| record source | http://siris-archives.si.ed |
| acquisition information | Lent 1981-1982 by Elsa Beckmann, widow of Hannes Beckmann. Typescripts of lectures were subsequently given by Mrs. Beckmann in 1982. All materials except typescripts of lectures: Originals in the possession of Elsa N. Beckmann, 10 Woodrow Street, Hanover, New Hampshire 03755. |
| updated | 11/12/2014 11:29:50 |
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| title | Solomon R. Guggenheim records, 1927-1949 | repository | Solomon R. Guggenheim Museum Archives |
| description | The records of Solomon R. Guggenheim (SRG) span the years 1927-1949 and document his correspondence of those years. The correspondence includes both incoming and outgoing letters, in which insight into various spheres of SRG's professional and personal life appears. Correspondence written by Irene Guggenheim to Hilla Rebay is also included in this collection, from October of 1927 to November of 1949. The bulk of correspondence reflects concerns over the future of the Solomon R. Guggenheim Foundation which had not yet established a museum on New York's Upper East Side. Historical Abstract: Historical Abstract: In 1937, Solomon Robert Guggenheim (SRG), scion of a wealthy American family, had high hopes for the vast collection of art pieces he possessed. SRG established the Solomon R. Guggenheim Foundation (SRGF) in that year and set up the Museum of Non-Objective Painting, with several hundred pieces from his own collection. As a result of his desire to make his possessions available for public viewing, SRG set out to "provide for the promotion of art for the mental and moral improvement of men and women, by furthering their education, enlightenment, and aesthetic taste." Characterized as a firm advocate of non-objective art, SRG associated his Foundation with names such as Rudolf Bauer, Kandinsky, Frank Lloyd Wright and Hilla Rebay. Through his efforts, the SRGF became a leader in the world of visual art and elevated non-objectivity to a legitimate art form. Preferred Citation: Solomon R. Guggenheim records. A0040. Solomon R. Guggenheim Museum Archives, New York, NY. Location: CF Call Number: A0040 |
| extent | .35 cubic ft. |
| formats | Correspondence |
| access | The collection is partially restricted. The archives are open to qualified scholars and researchers by advance appointment only on Mondays, Tuesdays, and Wednesdays, 9:30 AM to 5:30 PM. To schedule an appointment, please contact archives@guggenheim.org. It is recommended that appointment requests are made at least two weeks prior to the visit. |
| record source | http://www.guggenheim.org/new-york/collections/library-and-archives/archive-collections/A0040/ |
| finding aid | Online and in repository. Finding aid prepared by Mariana Benites in May 2007. |
| updated | 11/12/2014 11:29:56 |
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| title | Collection on Peggy Guggenheim, 1938-1992 (bulk 1981-1988) | repository | Solomon R. Guggenheim Museum Archives |
| description | The Collection on Peggy Guggenheim (PG) contains papers and records collected by the Solomon R. Guggenheim Museum (SRGM) to chronicle PG's life, her art collection, and her relationship with the Museum. It contains bibliographic materials on PG, duplicates of correspondence between PG and artists, photographic reproductions of exhibition brochures from Gallerie Jeune and Art of This Century, correspondence with SRGM staff, and press clippings detailing PG, the Guggenheim family, and the Peggy Guggenheim Collection. Highlights of the collection include transcripts of Thomas M. Messer's interview with PG as well as brochures of events and exhibitions at the Palazzo from 1982-1990. Historical Abstract: In 1975, the Peggy Guggenheim Foundation (PGF) transferred ownership of its entire art collection, worth $40 million, to the Solomon R. Guggenheim Foundation (SRGF). With this transfer, the SRGF's collection of artwork expanded to include important representations of Surrealist and abstract art. The SRGF was founded in 1937 by Solomon R. Guggenheim (SRG) to share his growing art collection with the public and for the "promotion and encouragement and education in art and the enlightenment of the public." The Museum of Non-Objective Painting (MNOP), which became the Solomon R. Guggenheim Museum in 1952, was opened in 1939. During this same time period, Peggy Guggenheim (PG), SRG's niece, directed the Guggenheim Jeune in London (1938 to 1939), followed by Art of This Century in New York (1942-1947). It is here that PG began to amass a personal collection of Surrealist and abstract art, later to be known as the Peggy Guggenheim Collection (PGC).In 1961 after PG's move to Venice and her purchase of the Palazzo Venier dei Leoni on Venice's Grand Canal to display her collection, Thomas M. Messer, third director of the SRGM, began a long term relationship with PG. On July 17, 1975, the PGF approved the transfer of the PGC to the SRGF on the condition that it remain in the palazzo. As of December 6, 2006, the PGC, residing in the Venier del Leoni, Venice and under the management of the SRGF, is open year round to visitors. Preferred Citation: Collection on Peggy Guggenheim. A0022. Solomon R. Guggenheim Museum Archives, New York, NY. Location: Compact files; ArchivesOne Call Number: A0022 |
| extent | 4.5 cubic ft. (5 boxes) |
| formats | Business Papers Correspondence Photographs Exhibition Catalogs Clippings |
| access | The collection is unrestricted |
| record source | http://www.guggenheim.org/new-york/collections/library-and-archives/archive-collections/A0022/ |
| finding aid | Online and in repository. Finding aid prepared by Francine Snyder in March 2007. |
| updated | 11/12/2014 11:29:56 |
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| title | Hilla Rebay non-objective film collection, 1921-2005 (bulk 1930-1945) | repository | Solomon R. Guggenheim Museum Archives |
| description | The Hilla Rebay non-objective film collection consists of 28 non-objective films with production years spanning 1921-1952 and related documentation. 25 of the 28 films were collected by Hilla von Rebay (HVR) during her time as Museum Director. Three of the films were aquired after her tenure. There are positives of all prints and negatives of a small number of titles. Prints are all 16 millimeter. Both black and white and color films are present. Included are works by Viking Eggeling, Oskar Fischinger, László Moholy-Nagy, and Hans Richter. It is important to note that the films are not unique, nor are they originals. The related documentation includes information regarding the purchase of the films, correspondence between HVR and the filmmakers, documents relating to the Solomon R. Guggenheim Foundation's gifting of the films to the Library of Congress, documentation of screenings of the films and reports pertaining to the condition of the original prints. Also included is curatorial research related to the collection and printed images of stills from selected Fischinger and McLaren films. Historical Abstract: Shortly after prompting Solomon R. Guggenheim (SRG) to open the Museum of Non-Objective Painting, Hilla von Rebay (HVR), Museum Director, launched plans to establish a film center. Particularly influenced by three filmmakers, Hans Richter (HR), Oskar Fischinger (OF), and Norman McLaren, HVR expected film to be an influential aspect of the non-objective art movement and intended to construct a film center and archives that reflected the work being done in film relating to the movement. The Hilla Rebay non-objective film collection originated in the early 1940's through HVR's acceptance of a portion of HR's personal film collection. In keeping with the Museum's mission, HVR accepted only the works that she regarded as non-objective. Following the death of SRG on November 3, 1949, plans for a film center were dropped. In 1969 the originals of the film collection were gifted to the Library of Congress. Preferred Citation: Hilla Rebay non-objective film collection. A0037. Solomon R. Guggenheim Museum Archives, New York, NY. Call Number: A0037 Location:Cold Storage Vault 1071 |
| extent | 13 cubic ft. (28 films, 1 box) |
| formats | Film |
| access | Restricted documents are closed to outside researchers. Contact the Manager of Library and Archives for further information. |
| record source | http://www.guggenheim.org/new-york/collections/library-and-archives/archive-collections/A0037/ |
| finding aid | Online and in repository. Finding aid prepared by Kathleen Maguire in February 2007. |
| updated | 11/12/2014 11:29:56 |
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| title | Michele Smolen collection of Hilla Rebay materials, 1938-2005 (bulk 1938-1962) | repository | Solomon R. Guggenheim Museum Archives |
| description | The Michele Smolen collection of Hilla Rebay materials is comprised of materials relating to Hilla Rebay and the Solomon R. Guggenheim Museum, dating from 1938 to 2005. It contains newspaper clippings, postcard books for the Museum of Non-Objective Painting showing interior shots of the museum and proposed new building, publications, and seven catalogues for exhibitions presented by the Museum. The collection also contains 20 etchings made by Rebay along with a copper plate and etched postcard, also designed by Rebay. Biographical Abstract: Michele Smolen (MS) was born in Forest Hills, Queens. She studied at both the Julliard School and the Brooklyn Conservatory of Music. After marrying her husband, Donald Smolen, a marketing and advertising executive for United Artists and successful commercial artist, the two moved to Westport, CT, where Hilla Rebay (HR), the first director of the Solomon R. Guggenheim Museum, had maintained a home since 1938. Although MS did not know HR personally, she was aware of HR's reputation as a patron and promoter of modern art. MS donated the collection to the Solomon R. Guggenheim Museum Archives in July 2005. Location: OS, CF Call Number: M0005 |
| extent | 1.3 cubic ft. (3 boxes) |
| formats | Clippings Postcards Exhibition Catalogs Printed Materials Etchings |
| access | The collection is unrestricted |
| record source | http://www.guggenheim.org/new-york/collections/library-and-archives/archive-collections/M0005/ |
| finding aid | Online and in repository. Finding aid prepared by Alan Houston in 2006. |
| updated | 11/12/2014 11:29:56 |
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| title | Papers of Howard Dearstyne, 1911-1986 | repository | Library of Congress |
| description | The papers of Howard Best Dearstyne (1903-1979) span the years 1911-1986, with the bulk of the items concentrated in the period from 1953 to 1971. The collection relates almost exclusively to Dearstyne's research interest in the Bauhaus, the influential German art and architecture school founded by Walter Gropius in 1919. Included are correspondence, exhibit brochures and catalogs, newspaper clippings, magazine articles, reports, and a book draft. The collection is arranged in two series, a Subject File and a Writings File. The Subject File comprises 80 percent of the collection and contains mostly secondary materials collected by Dearstyne in support of his lifelong interest in the Bauhaus and its two best-known masters, Gropius and Ludwig Mies van der Rohe. In this series are newspaper and magazine articles on the Bauhaus, its history, and especially its influence on the development of modern art and twentieth-century architecture. Dearstyne corresponded with many of the school's instructors and graduates, as well as with other architects, designers, and artists influenced by Bauhaus principles, and his papers include exhibit brochures and catalogs of their work, together with letters and some original artwork sent to him. Principal correspondents include Josef Albers, Hermann Blomeier, George E. Danforth, Werner Drewes, Henry Dubin, Wils Ebert, Helmut von Erffa, Werner Graeff, Ludwig Hilberseimer, Paul Klee, Kurt Kranz, Ludwig Mies van der Rohe, the Museum of Modern Art, Eckhard Neumann, Karl Nierendorf, Pius E. Pahl, Walter A. Peterhans, Oskar Schlemmer, and Erdmann Schmocker There is also material documenting Dearstyne's pursuit of photography as a serious art form, including magazine articles written by him and texts of his lectures. Some material in the Subject File is in German. Dearstyne published on a wide array of subjects, including the architecture of colonial Virginia--especially Williamsburg--modern art, architectural design and city planning, design in nature, art photography, and the Bauhaus.. The Writings File includes drafts of three reports Dearstyne wrote in 1953-1954 on the King's Arms Tavern, the King's Arms Barber Shop, and the Alexander Purdie House and its outbuildings in Williamsburg. Another work, which was "in progress" during most of Dearstyne's teaching career, was Inside the Bauhaus, a history of the design school and his experience there. The only American graduate of the Bauhaus, Dearstyne was immensely affected by its teachings and concepts, especially those of its last master, Mies van der Rohe. Twenty-three years after being a student of Mies at the Bauhaus, Dearstyne became a professor at the Illinois Institute of Technology's School of Architecture, then under the direction of his former teacher. An early draft of the book and related correspondence, primarily requests for permission to publish copyrighted photographs or illustrations, are in the Writings File. Other writings by Dearstyne may be found in the Subject File. Abstract: Architect, architectural historian, educator, and photographer. Correspondence, writings, lectures, exhibit brochures, art catalogs, artwork, and other papers relating primarily to Dearstyne's research on the history of the Bauhaus art school, the school's influence on the development of modern art and 20th century architecture, and two Bauhaus masters, Walter Gropius and Ludwig Mies van der Rohe. |
| extent | 7.2 linear feet |
| formats | Correspondence Writings Ephemera Catalogs Artwork |
| access | Contact repository for restrictions and policies. |
| record source | http://lcweb2.loc.gov |
| finding aid | he finding aid is in the repository and on the repository's web site. |
| acquisition information | The papers of Howard Dearstyne, architect, photographer, architectural historian, and educator, were deposited in the Library of Congress by Marjorie Smolka in 1988. The deposit was converted to a gift in 1991. |
| updated | 11/12/2014 11:29:59 |
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| title | Beatrice Whitney Van Ness papers, 1883-1985. | repository | Archives of American Art |
| description | Letters, writings and notes, art works, printed material and photographs. Brief resumes, a genealogy of Van Ness' family and a citation from Beaver Country Day School for "Meritorious Service"; correspondence from family members, colleagues and friends includes 5 letters from Victor D'Amico and the Progressive Education Association regarding her participation in upcoming events; extensive notes and writings by Van Ness and others regarding art education theory and practice and a brief history of Beaver Country Day School written by Van Ness in 1981; teaching files, undated and 1932-1944, containing course outlines, exams and class assignments for courses taught at BCDS; a notebook describing the dimensions, locations and types of various picture frames; a card file describing paintings by Van Ness; figure drawings, still lifes, contour drawings and charcoal studies done when she was a student; studies of people done in preparation for paintings, portrait sketches and 2 sketches of Van Ness done by her students; photographs of Van Ness, her family, models (for paintings), colleagues and teachers (includes a photo of Philip Hale and Edmund Tarbell, ca. 1905-1980), numerous photos of paintings by Van Ness, ca. 1910-1980, and photos of drawings by her students. Printed materials include 2 articles by Van Ness on art education published in ART EDUCATION TODAY (1939) and HIGH SCHOOL JOURNAL (1940); exhibition catalogs, announcements, clippings and an essay by Hilla Rebay entitled "The Beauty of Non-Objectivity." Bio / His Notes: Painter, educator; Chesnut Hill, Mass. Founder and head of the Art Department at Beaver Country Day School in Chestnut Hill (1921-1949). She studied child and adolescent behavior as applied to art education practice. Through articles, essays and presentations she advocated a more vital and integral role for art education in overall curriculum strategy. |
| extent | 1.4 linear ft. |
| formats | Correspondence Writings Clippings Photographs Printed Materials |
| access | Unmicrofilmed; use requires an appointment and is limited to Washington, D.C. storage facility. |
| record source | http://www.siris.si.edu/ |
| acquisition information | Donated 1983 by Van Ness's daughters Mary Crocker and Silvia Martin. |
| updated | 11/12/2014 11:30:01 |
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| title | Rudolf Bauer papers, 1918-1983. | repository | Archives of American Art |
| description | Drafts of letters and a few letters received; business records; legal documents; writings; printed material; and photographs primarily regarding Bauer's work as a non-objective painter, and his relationship with the Solomon R. Guggenheim Foundation and its first director Hilla Rebay. Included are typescripts of two lengthy, rambling letters (24 p. and 45 p. single spaced) from Bauer to Rebay and two to Frank Lloyd Wright (11 p. and 40 p. single spaced) concerning his relationship with the Guggenheim Foundation and its design; a file on the Foundation, 1938-1945, containing internal reports of activities, memorandum, letters, and documents, some concerning the controversy surrounding efforts to remove Rebay as director; writings and notes by Bauer on his philosophies about contemporary art and museums; writings and lectures by Rebay on non-objective painting, 1941-1942; printed material, 1918-1969, including clippings, exhibition announcements, catalog entries, and reproductions of Bauer's work; photographs of Bauer, his family, friends, home, car, works of art and exhibition installations; scattered business records, including shipping lists for paintings, and tax and immigration documents; a file on Bauer's antique Duesenberg Phaeton car; and a few letters to Bauer's widow, Louise Parry, including 2 from Otto Nebel, one enclosing a woodblock print, and one from Rebay's biographer, Joan Lukach, 1983. Included in the Guggenheim Foundation file are a letter from Solomon Guggenheim to the U.S. Attorney, 1942, requesting that Bauer be allowed to visit New York without the required permit due to the frequency of Guggenheim's requests for Bauer's advice, and a letter from Frank Crowninshield, editor of Vogue, 1938, to the Foundation, requesting information on Bauer's arrival in the U.S. Bio / His Notes: Abstract painter, New York, N.Y. Born in Germany, Bauer's work in non-objective painting was promoted by Solomon R. Guggenheim's art advisor, and later museum director, curator Hilla Rebay, and Bauer became a paid advisor to Solomon R. Guggenheim and Rebay in the formation of the Solomon R. Guggenheim Foundation (1937), later the Museum of Non-Objective Painting (1939), and then after Guggenheim's death, the Solomon R. Guggenheim Museum (1949). Guggenheim and Rebay later dropped him due to Bauer's intense criticism of the Foundation and Rebay. |
| extent | 1.1 linear ft. |
| formats | Correspondence Business Papers Photocopies X rays Printed Materials |
| access | Use requires an appointment. |
| record source | http://www.siris.si.edu/ |
| acquisition information | Gift of the Estate of Louise Bauer Parry (widow of artist), 1985; arranged by Franklin Riehlman of Phillips auctioneers. |
| updated | 11/12/2014 11:30:01 |
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| title | Scrapbooks regarding the Solomon R. Guggenheim Foundation, 1935-1939. | repository | Archives of American Art |
| description | Scrapbooks containing newspaper clippings and other printed material relating to Solomon R. Guggenheim and his collection of non-objective art. Topics include: the exhibitions of the collection at the Gibbes Art Gallery, Charleston, S.C., 1936 and 1938, Philadelphia Art Alliance, 1937, and the Baltimore Museum of Art, 1939; the formation of the Solomon R. Guggenheim Foundation, 1937; the opening of the collection at 24 E. 54th St., June 1939; Guggenheim curator Hilla Rebay; painter Rudolf Bauer; and Guggenheim. Editorials and letters to the editor regarding abstract art are also included. Bio / His Notes: Modern art museum; New York, N.Y. Solomon R. Guggenheim's collection of mostly abstract, non-objective painting was largely formed by artist and promotor of non-objective painting, Hilla Rebay. In 1937 it was established as the Solomon R. Guggenheim Foundation, and in 1939, as the Museum of Non-Objective Painting. After Guggenheim's death in 1949 the name was changed to the Solomon R. Guggenheim Museum. |
| extent | 1 partial microfilm reel (155 frames) reel NSRG1 |
| formats | Microfilm |
| access | Patrons must use microfilm copy. |
| record source | http://www.siris.si.edu/ |
| acquisition information | Lent for microfilming 1965 by the Solomon R. Guggenheim Museum. Location of Original: Originals in the Solomon R. Guggenheim Museum, New York, N.Y. |
| updated | 11/12/2014 11:30:01 |
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| title | Robert Jay Wolff papers, 1926-1969. | repository | Archives of American Art |
| description | Correspondence; exhibition catalogs; notes; photographs; notebooks; scrapbook; clippings; and miscellany. REELS N69-72-N69-74: Correspondence, 1929-1968 with Alexander Calder, Serge Chermayeff, Jimmy Ernst, Sigfried Giedion, Walter Gropius, Guggenheim Museum, Carl Holty, Katharine Kuh, L. and Sybil Moholy-Nagy, Museum of Non-Objective Painting and Hilla Rebay, Harry Holtzman, Stephen R. Hustvedt, Bob Osborn, Philip Pearlstein, Ad Reinhardt, and Kurt Seligmann; exhibition catalogs; price lists; clippings; articles; talks and notes; photographs of paintings and sculpture, 1929-1958; notebooks, 1929-1965; and a scrapbook, 1934-1938. REEL N69-98: Nine letters from Morris D. C. Crawford and his wife, 1926-1932, and a carbon copy of a letter to Dorothy Miller Cahill, May 27, 1969, in which Wolff mentions his efforts, as president of the Artists' Union of Chicago, ca. 1936, to unseat Increase Robinson. Wolff also explains how he became Holger Cahill's "bitter enemy." Bio / His Notes: Designer and painter; New Preston, Connecticut. Died in 1978. |
| extent | 0.4 linear ft. (on 4 microfilm reels) reels N69-72-N69-74 & N69-98 |
| formats | Microfilm |
| access | Patrons must use microfilm copy. |
| record source | http://www.siris.si.edu/ |
| acquisition information | Lent for microfilming 1969 by Robert Jay Wolff. Location of Original: Originals returned to Robert Jay Wolff after microfilming. |
| updated | 11/12/2014 11:30:01 |
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| title | Lloyd Raymond Ney papers, 1902-1987. | repository | Archives of American Art |
| description | Biographical material; correspondence; a diary; writings; art work; subject files; photographs; printed material; and two scrapbooks. Biographical accounts; a passport; a list of paintings in collections; a grant application; personal correspondence, including letters from Abraham Rattner from Paris describing the Parisian art scene; professional correspondence regarding the controversy ove Ney's mural for the New London, Ohio post office and letters from Hilla Rebay of the Solomon R. Guggenheim Museum, N.Y.C.; a diary, 1918, chronicling Ney's army experience in France; a subject file containing preliminary drawings, clippings, and photographs of the New London mural; a sketchbook of mural studies; photographs of Ney's art works, portraits of Ney, and exhibition installations; clippings; exhibition catalogs and announcements; unpublished manuscripts; two typescripts by Hilla Rebay and James W. Riley; two scrapbooks containing photographs, printed material, and letters relating to Ney's studies at the Pennsylvania Academy of Fine Arts; a drawing, "The Declaration of France," by Joseph Mielziner; miscellaneous printed material. Bio / His Notes: Non-objective painter; New Hope, Pa. and New York, N.Y. Known also as Bill Ney. Born in Friedenburg, Pa. and studied at the Pennsylvania Museum School of Industrial Art and at the Pennsylvania Academy of the Fine Arts. Won a Cresson travelling scholarship in 1918 and travelled to France with Abraham Rattner. Commissioned to paint the post office in New London, Ohio by the Section fo Fine Arts of the Department of Treasury which became a controversial issue. Was one of Hilla Rebay's favored non-objective painters. |
| extent | 1.1 linear ft. (on 2 microfilm reels). reel 4234-4235 |
| formats | Microfilm |
| access | Patrons must use microfilm copy. |
| record source | http://www.siris.si.edu/ |
| finding aid | Finding aid on microfilm reel 4234. |
| acquisition information | Microfilmed in 1989 as part of AAA's Philadelphia Arts Documentation Project. Donated by Gretchen Ney Laugier, Ney's daughter. |
| updated | 11/12/2014 11:30:01 |
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| title | Dwinell Grant papers, 1923-1988. | repository | Archives of American Art |
| description | Biographical material; correspondence; business records; writings; printed material; photograph albums; sketchbooks; and videocassettes. REELS 4152-4153: Biographical material including a fraternity membership card, 6 resumes, a biographical account, a transcript of an interview of Grant, award certificates, and a diploma; correspondence, primarily dealing with Hilla Rebay of the Guggenheim Foundation from whom Grant received funding for film projects, and including project proposals and financial accounts, some letters also deal with the medical films he produced; letters and financial records concerning the sale of his paintings through the Olympia Gallery, Martin Diamond Fine Arts, Inc., and the Graham Gallery; typescript writings expressing Grant's thoughts on art and religion; clippings; 17 programs from plays produced at Wittenberg College; 11 exhibition announcements and catalogs; 7 press releases; and 13 brochures and fliers concerning Grant's medical and other filmmaking projects; and two videotapes PROFILE OF DWINELL GRANT from "Profiles in Excellence" conducted by Gary Perdue, and an interview with Grant for ART BEAT; REELS 4154-4155: writings, mostly from the 1980s, expressing Grant's thoughts and philosophies concerning himself and his art work, sometimes presented in the format of a journal; one album containing photographs of Grant, his family and friends, and nine albums of photographs of works and of gallery installations, annotated with information on sales, experiments with light, including a formula for stereoscopic drawing, notes on abstract films, medical illustrations, and dream fantasies; and two sketchbooks containing abstract drawings. Bio / His Notes: Painter, filmmaker; New York, N.Y. and New Hope, Pa. Born and raised in Ohio, Grant received early art training from his grandfather, Paul E. Henking. He also studied at the Dayton Art Institute and the National Academy of Design. In 1935, he began teaching at Wittenberg College in Ohio. He was primarily influenced by his association with Hilla Rebay and the Museum of Non-Objective Art (the Guggenheim), and from 1944-1948 worked on an unfinished film project for the Guggenheim. In 1947, he began producing medical teaching films and supplemented his income with work on medical books, while continuing to work on his paintings. Additional forms: 35mm microfilm reels 4152-4153 and 4154-4155 available for use at Archives of American Art offices and through interlibrary loan. |
| extent | 2.0 linear ft. (on 4 partial microfilm reels) reels 4152-4153 and 4154-4155 |
| formats | Microfilm |
| access | Patrons must use microfilm copy. |
| record source | http://www.siris.si.edu/ |
| acquisition information | Loan, Reels 4154-4155: All material was assembled and edited by the donor specifically for microfilming by the Archives. The writings were copied into the notebook by Grant from other sources. Location of Original: Reels 4154-4155: Originals in the possession of Dwinell Grant. |
| updated | 11/12/2014 11:30:01 |
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| title | Elizabeth McCausland papers, 1838-1965 (bulk 1920-1960). | repository | Archives of American Art |
| description | Correspondence, notes, writings, research notes, photographs, newspaper columns, transcripts of interviews, printed material, art works, sound recordings, and miscellany. Predominant subjects include Alfred Maurer, Lewis Hine, Marsden Hartley, documentary photography, Federal art programs, and art exhibitions and organizations. REELS D368 - D384H: Files, 1916-1960, containing voluminous correspondence with artists and others, research notes, many photographs of works of art, transcripts of interviews, articles and manuscripts, and printed materials. The material relates to McCausland's work at the Springfield Republican; Maurer; E. L. Henry; government art programs; teaching; lectures; art organizations, such as American Artists' Congress, Artists League of America, League of American Writers, Artists Societies for National Defense, and Citizens' Committee for Government Arts Projects; exhibitions and events, among them the 1939 New York World's Fair and National Art Week; photography and photographers, among them Berenice Abbott and Lewis Hine; and art history and criticism. Other subjects include George Brainard, Martin Johnson Heade, Robert Henri, George Inness, Frederick Kiesler, Kathe Kollwitz, Jacob Lawrence, Samuel F. B. Morse, William Sidney Mount, Museum of Modern Art, nudes in art, the trial of Sacco and Vanzetti. Among the files on photography are photographs by Farm Security photographers Russell Lee and Ben Shahn, Doris Ulmann, Weegee, and others. Also included are photographs of McCausland, ca. 1905-1950 (reel D370, fr. 1152-1199). Among the correspondents are Charles C. Adams, Herman Baron, Gustave Baumann, Mary R. Beard, Peter Blume, Alexander Calder, Howard N. Cook, Ernest Crichlow, Alice Decker, Arthur Dove, Louis Eilshemius, Agna Enters, Kahlil Gibran, Samuel Golden of American Artists Group, Martha Graham, Lewis Hine, Rockwell Kent, Lincoln Kirstein, Yasuo Kuniyoshi, Norman Lipton as managing editor of "Photography," Willard D. Morgan, Beaumont Newhall, Georgia O'Keeffe, Hilla Rebay, William H. Royce, Rosika Schwimmer, Gertrude Stein, Alfred Stieglitz (44 letters, 1931-1938; reel D384B), Alice B. Toklas, Sylvia Wald, Hudson Walker and the Walker Art Center and Edward Weston. REEL 1256: Hine's own prints of many photographs, categorized as: Ellis Island; child labor; men at work; steel workers; life in New York City; life in Chicago and other areas in America; unidentified scenes. [See also reel D384G for McCausland's file on Hine, containing correspondence with Hine, drafts of McCausland's articles, clippings, and printed material.] REELS D267-D274: Notebooks on Marsden Hartley compiled and arranged by McCausland, containing notes, writings, correspondence, photographs of Hartley's work, records of his travels and occupations, transcripts of Hartley letters, and other material, covering the years 1877-1944. This material was used in preparation for McCausland's projected biography and catalog raisonne of Hartley, a project originally begun by the American Art Research Council, and turned over to McCausland by Hudson Walker. Total: 10.5 linear ft. REELS X3-X4: Microfilm obtained by McCausland from Hudson Walker, of Marsden Hartley letters, including 122 letters, 1928-1943, to Rebecca (Mrs. Paul) Strand, Mme. Lachaise, and others (reel X3); and letters to Adelaide Kuntz, 1929-1940 (reel X4). REEL D24: Tear sheets from the Springfield Sunday Union and Republican of McCausland's column, January 13, 1935 - December 27, 1942. REEL D319: Material relating to Charles Hawthorne, including correspondence with his son Joseph Hawthorne relating to a memorial exhibition at the Grand Central Art Galleries, 1947, organized by McCausland. REEL 3134: Three photographs of McCausland at a New York City WPA silk screen demonstrations at the World's Fair, August 11, 1940. Harry Gottlieb is pictured in one. UNMICROFILMED: Scrapbooks containing McCausland's column for the Springfield Republican, 1923-1929; 45 photographs, 1935-1936, for the dummy of Berenice Abbott's Changing New York; 14 photos, 1941, of outdoor billboard posters by South and Central American artists, on exhibit at the Riverside Museum, November 13-27th, 1941; prints, drawings, and paintings by others, and 3 calendars with silk screen prints, 1940, 1942 (artwork cataloged separately); files of research material for McCausland's American Processional, The Story of Our Country; appointment books; inscribed books; voluminous clippings; and miscellany. Also included are two sound recordings regarding Marsden Hartley, including an interview of Jacques Lipchitz conducted by McCausland and Mary Bartlett Cowdrey, February 20, 1960, and a discussion on the life and works of Hartley, February 27, 1959, by McCausland, Cowdrey, and Hudson Walker. REEL 1817 AND SCANNED One photograph of Pablo Picasso (copy print, oversize) was previously microfilmed under Photos of Artists II, and has since been scanned and returned to the McCausland papers. Bio / His Notes: Art critic, writer, lecturer, exhibition organizer. Taught at Barnard College, New School for Social Research, and Sarah Lawrence College. Art critic for Springfield Sunday Union and Republican, late 1920s; moved to New York, 1936. Active in government art projects, 1930s and 1940s, and in art organizations. Author of text for Berenice Abbott's Changing New York (1939), The Life and Work of Edward Lamson Henry, N.A., 1841-1919 (1945), A. H. Maurer (1951), George Inness, An American Landscape Painter (1946), Charles W. Hawthorne, an American Figure Painter (1947), Careers in the Arts, Fine and Applied (1950), Art Professions in the United States, and other books, articles and catalogs. Organized Lewis Hine exhibition, 1939. She spent the last fifteen years of her life extensively researching painter Marsden Hartley. Additional forms: 35mm microfilm reels D267-D274, D319, D368-D384H and 1256 available at Archives of American Art offices and through interlibrary loan. |
| extent | 33.9 linear ft. (partially microfilmed on 37 reels) reels D267-D274, D319, D368-D384H and 1256 |
| formats | Microfilm |
| access | Collection is currently being processed and digitized, and is closed to researchers. Access is to microfilmed portions only. |
| record source | http://www.siris.si.edu/ |
| finding aid | List of photographs by Lewis Hine on reel 1256 is available at AAA's Washington D.C. office. Filed Hine. REELS D267-D274; D368-D384 microfilm inventory available at AAA offices. |
| acquisition information | Donated 1956-1961 by Elizabeth McCausland. Marsden Hartley letters (microfilm reels X3-X4) were duplicated from microfilm received with the papers; McCausland received the microfilm from Hudson Walker, but it is unclear where the original letters are located. Location of Original: Reels X3-X4: Location of originals unknown. |
| updated | 11/12/2014 11:30:01 |
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| title | H. Harvard Arnason interviews, 1970 Mar. 3 - 1970 Mar. 9 | repository | Archives of American Art |
| description | An interview of H. Harvard Arnason conducted by Paul Cummings for the Archives of American Art. Arnason speaks of his family and educational background; the influence of the WPA Federal Art Project on museums; lecturing at the Frick Collection and Hunter College; his work as U.S. representative of UNESCO; his teaching positions and his roles as director of the Walker Art Center and trustee and vice president of the Solomon R. Guggenheim Foundation. He comments on Frank Lloyd Wright's design for the Guggenheim Museum building; competition among New York museums; conceptual art and museums; and the museum as a research center. He recalls Holger Cahill, Thomas M. Messer, Hilla Rebay, James Johnson Sweeney and others. Arnason also describes his writing projects, including his HISTORY OF MODERN ART. Bio / His Notes: Historian, writer, former director of the Walker Art Center, Minneapolis, Minnesota. Born 1909. |
| extent | Sound recordings: 1 sound tape reel ; 7 in. Transcript: 44 p. |
| formats | Interview Transcript Sound Recording |
| access | Contact repository for restrictions and policies. |
| record source | http://www.siris.si.edu/ |
| acquisition information | This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others. |
| updated | 11/12/2014 11:30:01 |
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| title | Hilla von Rebay Foundation Archive, 1894-1997 (bulk 1938-1955) | repository | Solomon R. Guggenheim Museum Archives |
| description | The Hilla von Rebay Foundation Archive spans the years 1894-1997 (bulk 1938-1955) and consists of 101 cubic feet of records created or collected by Hilla Rebay (HR) and/or the Hilla von Rebay Foundation (HVRF). The collection reflects HR's work as an artist as well as her tenure as the first director of the Museum of Non-Objective Painting (MNOP). The collection includes both personal and professional correspondence; HR's and other artists' writings; photographs of HR and her associates and friends, including the Solomon R. Guggenheim family; HR's scrapbooks; artwork, including printing plates prepared by the MNOP for the catalogue publication; records from HR's tenure as director of the MNOP; research materials prepared for HR's biography, Hilla Rebay: In Search of the Spirit in Art written by Joan M. Lukach and published in 1983; and both the HVRF's and the Solomon R. Guggenheim Foundation's records regarding the management of the estate of HR. The bulk of the collection is comprised of correspondence and photographic materials. Historical Abstract: Established in 1967 with the aim of promoting nonobjective art, the Hilla von Rebay Foundation has retained control of the estate of Hilla Rebay who was the first curator and director of the Museum of Non-Objective Painting. Preferred Citation: Hilla von Rebay Foundation Archive. M0007. Solomon R. Guggenheim Museum Archives, New York, NY. Location:OS / CF Call Number: M0007 |
| extent | 101 cubic ft. (208 boxes) |
| formats | Business Papers Personal Papers Correspondence Photographs Writings |
| access | The collection is partially restricted. Please contact the Manager of the Library and Archives for further information. |
| record source | http://www.guggenheim.org/new-york/collections/library-and-archives/archive-collections/M0007/ |
| finding aid | Online and in repository. Finding aid prepared by Sang Ae Park in August 2008. |
| updated | 11/12/2014 11:30:04 |
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| title | Reel to Reel collection, 1952-1990 (bulk 1961-1990) | repository | Solomon R. Guggenheim Museum Archives |
| description | The collection consists of 675 reel to reel audiotapes, dating from 1952-1990. The tapes document museum lectures, symposia and radio shows produced at the Solomon R. Guggenheim Museum. Historical Abstract: In 1953, the Solomon R. Guggenheim Museum (SRGM) announced the inauguration of a series of free art lectures and gallery tours in connection with its educational programs. While the lecture series was developed under the directorship of James Johnson Sweeney, the first regularly scheduled series of illustrated lectures on modern art began at SRGM in 1961 under the directorship of Thomas M. Messer. Lecture speakers included SRGM staff, art critics, historians and dealers. At the present, 2008, SGRM continues its support of public lecture programs through series such as the Annual Hilla Rebay Lecture. Location: 1071 Cold Storage Vault Call Number: A0004 For Rebay See: Series 5. Staff Lectures , 1952-1990 (bulk 1961-1977), 3.5 cubic ft. Summary: Series 5: Staff Lectures includes 121 audio recordings of lectures given by staff members during their tenure at the Solomon R. Guggenheim Museum. Lectures were often produced in conjunction with exhibitions. Highlights of this series include Hilla Rebay's lecture of 1952 and Lawerence Alloway's first lecture at the museum in 1962. |
| extent | 21 cubic ft. (21 record center cartons) |
| formats | Sound Recording |
| access | The collection is unrestricted. |
| record source | http://www.guggenheim.org/new-york/collections/library-and-archives/archive-collections/A0004/ |
| finding aid | Online and in repository. Finding aid prepared by Archives Staff in August 2006. |
| updated | 11/12/2014 11:30:04 |
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| title | Artist file: Rebay, Hilla | repository | National Portrait Gallery Library |
| description | Folder(s) may include exhibition announcements, newspaper and/or magazine clippings, press releases, brochures, reviews, invitations, illustrations, resumes, artist's statements, exhibition catalogs. |
| extent | 1+ folders (check with repository) |
| formats | Ephemera |
| access | Folder(s) do not circulate. Folder(s) available for use only at the holding library |
| record source | http://www.sil.si.edu/DigitalCollections/Art-Design/artandartistfiles/ |
| updated | 11/12/2014 11:30:05 |
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| title | Hilla Rebay records, 1882-1967 (bulk 1937-1952) | repository | Solomon R. Guggenheim Museum Archives |
| description | The Hilla Rebay records document the activities of Hilla Rebay (HR), first director of the Museum of Non-Objective Painting (MNOP). Topics covered within the collection include the governance of the MNOP; the establishment and operation of the MNOP; the MNOP's support of nonobjective art through scholarships and its promotion of nonobjective film; the activities of Rudolf Bauer; the exhibitions and permanent collection of the MNOP; the activities of HR independent of her work for the MNOP; and the research interests of HR and her staff. Correspondence comprises the majority of this collection. Other record types include articles, essays, and lecture transcriptions; exhibition brochures and checklists; meeting minutes; memoranda and notes; newspaper and magazine clippings; photographs and color reproductions; press releases; record books; reports; and scholarship applications. Historical Abstract: Hilla Rebay met Solomon R. Guggenheim in 1927 and served as his art advisor before becoming director of the Museum of Non-Objective Painting in 1939. She resigned from her directorship in 1952. Call Number: A0010 Related Materials: Hilla von Rebay Foundation Archive. M0007. Solomon R. Guggenheim Archives, New York, NY. Preferred Citation: Hilla Rebay records. A0010. Solomon R. Guggenheim Museum Archives, New York, NY. |
| extent | 46 cubic ft. (141 boxes) |
| formats | Administrative Records Personal Papers Correspondence Exhibition Catalogs Research Files |
| access | The collection is unrestricted unless otherwise indicated in the folder list. |
| record link | http://www.guggenheim.org/nhprcfindings. |
| record source | http://www.guggenheim.org/new-york/collections/library-and-archives/archive-collections/A0010/ |
| finding aid | Held at the repository and on the repository's Web site |
| updated | 11/12/2014 11:30:14 |
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| title | Weyhe Gallery records, 1919-1994 | repository | Archives of American Art |
| description | Primarily incoming correspondence (incomplete) from curators, dealers, and museums to Carl Zigrosser and E. Wehye, relating to the sale and exhibition of the gallery's prints. Alphabet letters A-H and T-V are missing from years 1931-1941; for 1942, letters O and X-Z are missing. Also included are receipts, 1940-1947, photocopies of eight scrapbooks/ exhibition catalogs, 1919-1951, and two volumes of photocopied catalogs, 1932-1951. Of note are eight letters exchanged between Zigrosser and Los Angeles lithographer, Lyndon Kistler, between 1934 and 1939. Kistler's letters to Zigrosser mainly concern his desire to exhibit in New York his hand-printed lithographs of the work of Jean Charlot, Warren Newcombe,Elise Seeds, Beatrice Wood, Paul Sample, and Alexander Archipenko, among others. Biogrpahical Note: Weyhe Gallery, est.1919 by Erhard Weyhe (1883-1972), was one of the first galleries in New York to specialize in prints. The Wehye Book store, also owned by Erhard Weyhe, was located in the same location at 794 Lexington Avenue. Carl Zigrosser was gallery director from 1919 until 1940. Gertrude Dennis, Weyhe's daughter, operated the gallery and book store after Erhard's death in 1972 until her death in 2003. Deborah Kiley, Weyhe's granddaughter, is the current owner of the Weyhe Gallery and the book store (currently Weyhe Art Books) now located in Mt. Desert, Maine |
| extent | 13.4 linear ft. |
| formats | Correspondence Scrapbooks Exhibition Catalogs Financial Records Catalogs |
| access | Unmicrofilmed; use requires an appointment. |
| record link | http://www.aaa.si.edu/collections/weyhe-gallery-records-6057 |
| record source | http://www.siris.si.edu/ |
| finding aid | Box inventory available. |
| acquisition information | Donated 1996 and 2012 by the Weyhe Gallery via owners Gertrude Weyhe Dennis and Deborah Weyhe Kiley. |
| updated | 12/29/2014 17:09:35 |
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