Archives Directory for the History of Collecting in America
Archives related to: Creelman, Alice Buell
| title | James Creelman Papers |
| repository | Ohio State University Libraries |
| description | Extensive professional and personal correspondence. Much on Spanish-American War (Santiago, Manila Bay, treaty negotiations). Includes some manuscripts of his writings, clippings of some earlier writings. Correspondents include many prominent politicians, jurists, journalists. Partial index of correspondence in the library and online. - The collection also includes an inventory of the Creelman collection and some papers relating to Alice Creelman's career as an art dealer. Biographical and Historical Note: James Creelman (1859-1915), in addition to being Alice's husband, was a journalist, author, and war correspondent. |
| extent | 4.5 linear ft |
| formats | Clippings Correspondence Legal Papers Manuscript Writings |
| access | For research use in the library only |
| record link | http://osu.worldcat.org/oclc/17194941 |
| bibliography | Some material included in his book, On the great highway (1901). |
| record source | https://library.osu.edu/finding-aids/rarebooks/creelman.php |
| finding aid | Partial index of correspondence in the library |
| acquisition information | Purchased in 1984. |
| updated | 02/14/2025 10:07:32 |
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| title | Frick Art Research Library Central Correspondence — Dealers, 1920–present |
| repository | The Frick Collection and Frick Art Research Library |
| description | Library correspondence with domestic and international art dealers, mainly concerning the acquisition of photographs, sales catalogs, and exhibition catalogs for the Library. Additionally, many letters document the exchange of information on the attribution, provenance, subject identification, and location of particular works of art. Arrangement: Alphabetical by dealer name; chronological within folders. |
| extent | 6.22 cubic feet |
| formats | Correspondence |
| access | These records are open for research under the conditions of The Frick Collection/Frick Art Research Library Archives access policy. Contact the Archives Department for further information at archives@frick.org |
| updated | 02/14/2025 10:07:43 |
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| title | Art Collecting Files of Henry Clay Frick |
| repository | The Frick Collection and Frick Art Research Library |
| description | The Art Collecting Files of Henry Clay Frick, 1881-1925 and undated, consist of correspondence, invoices and financial records, catalogs, inventories, registers, notes, narrative descriptions, and printed material documenting the selection, purchase, exhibition, and disposition of works of art in Frick's collection. A small number of items in the collection date from after Frick's death, including a catalog and documents regarding claims against the Frick Estate. This is a digital collection that unites the collections formerly known as the Henry Clay Frick Art Collection Files and the Henry Clay Frick Papers, Series I: Art Files. These materials have been supplemented with scanned items from the Henry Clay Frick Papers, Series II: Correspondence, Series III: Voucher Files, Series V: Subject Files, the One East 70th Street Papers, and the Eagle Rock Papers. This digitized material is available by clicking the folder titles within the container list below or through Frick Digital Collections. Materials are arranged in six series: I: Purchases, 1881-1921 and undated; II: Catalogs and Works Exhibited, 1906-[1925]; III: Inventories and Lists, 1903-circa 1925 and undated; IV: Correspondence, Correspondence, 1895-1921; V: Art Not Purchased, Art Not Purchased, 1897-1919; and VI: Printed Material and Miscellanea, 1897-1917 and undated. The bulk of the collection is contained in Series I: Purchases, 1881-1921 and undated, which consists of bill books, registers, and purchase files. Documentation varies greatly from one painting to another, but may include correspondence with dealers, artists, financial institutions, and others connected with the transaction; invoices; canceled checks; vouchers; shipping and insurance documents; descriptions of art works; biographical information about artists or portrait subjects; and newspaper clippings. Many files contain red expanding wallet envelopes used by Frick's office staff to house documents pertaining to his acquisitions. These are referred to in the container list below as "red envelopes." In some cases, acquisition documentation may be limited to only a red envelope, or to purely transactional papers such as receipts and vouchers. Bound volumes are grouped first in this series, followed by acquisition files arranged chronologically. Series II: Catalogs and Works Exhibited, 1906-[1925] contains information about paintings loaned for public exhibition, as well as published and unpublished descriptions of Frick's collection. Arranged chronologically, these files document loans to museums, galleries, societies, and for fundraising purposes during the first World War. Among the institutions to whom he lent paintings are the Metropolitan Museum of Art and M. Knoedler & Co., both in New York, and the Museum of Fine Arts and the Copley Society, both located in Boston. For more information about public access to Frick’s collection, see the requests to visit his galleries in Series IV: Correspondence. In addition to loan documentation, this series also contains published catalogs of Frick’s collection, issued in 1908, 1916, and [1925], as well two handwritten catalogs compiled by his daughter, Helen Clay Frick, circa 1910. Series III: Inventories and Lists, 1903-circa 1925 and undated, contains accounting summaries, lists of paintings, and inventories of art objects and furniture at various Frick residences. A number of the inventories and lists contained here seem to have been prepared for bookkeeping or insurance purposes. Inventories and lists may document works by particular artists, paintings returned to the dealer, or works moved between Frick’s homes in Pittsburgh, New York, and Massachusetts. Files are arranged chronologically. Series IV: Correspondence, 1895-1921, contains files of Frick’s correspondence with art dealers and publishers, along with numerous requests to visit his gallery. Topics discussed may include potential works for acquisition, the activities of other collectors and dealers, and the reproduction of works for publication. Requests to visit Frick’s gallery were made by individuals and groups who wished to see the collection while it was still housed in a private residence, and provide some insight into the extent to which Frick allowed the public to view his collection. This series also contains a letterpress copybook of Frick's replies on various matters related to art collecting and the administration of his collection. Correspondents in the letterbook include Charles Carstairs, Roland F. Knoedler, Alice Creelman, Roger Fry, and Joseph Duveen. Series V: Works Not Purchased, 1897-1919, documents works of art that were offered, considered, or pursued, but ultimately not purchased by Frick. Arranged chronologically, these include works by Holbein, Rembrandt, Van Dyck, Houdon, Memling, and Titian. As with the acquisitions files in Series I: Purchases, the amount of documentation varies significantly from one file to another, but may contain correspondence, expense summaries, expert opinions, and clippings. Additionally, this series contains a list of articles on approval at One East 70th Street that were removed by Duveen Brothers shortly before Frick’s death. Series VI: Printed Material and Miscellanea, 1897-1917 and undated, contains photographs of works purchased by Frick and later returned, catalogs from American and British galleries, notes, and a handful of articles about Frick’s collection published during his lifetime. The catalogs contained here largely concern the sale of works on paper, furniture, and decorative arts objects. While Frick did purchase selected items from George B. Warren's collection of porcelains, it has not been confirmed whether or not Frick acquired items from any of the other catalogs here. Dates 1881-1925, undated |
| extent | 8.9 linear feet |
| formats | Correspondence Financial Records Inventories Notes Printed Materials |
| access | These records are open for research under the conditions of The Frick Collection Archives access policy. Contact the Archives Department for further information at archives@frick.org. |
| record link | https://archives.frick.org/repositories/3/resources/30 |
| record source | https://library.frick.org/permalink/01NYA_INST/1qqhid8/alma991010196349707141 |
| finding aid | Available online. |
| acquisition information | Gifts of Helen Clay Frick, 1953-1954, and the Helen Clay Frick Foundation, 2015. Digitized through a grant from the Carnegie Corporation of New York, 2015-2016. |
| updated | 02/14/2025 10:07:43 |
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| title | Macbeth Gallery records, 1838-1968 (bulk 1892-1953). |
| repository | Archives of American Art |
| description | The records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. Through extensive correspondence files, financial and inventory records, printed material, scrapbooks, reference and research material, and photographs of artists and works of art, the records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 132.2 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953. Correspondence files form the bulk of the collection and records the day-to-day transactions of the gallery with artists, dealers, curators, and collectors. The correspondence found here documents all aspects of the gallery's activities including relationships with artists, arrangements for loans, consignments, and sales; the development of public and private collections; and the involvement of the gallery owners in the art community. In addition to general correspondence there is a group of correspondence that pertains directly to requests for gallery publications and a series of letterpress books containing five years of copies of the gallery's outgoing letters. The financial and shipping records provide a detailed record of the gallery's financial transactions through a variety of ledgers and account books. These records provide insight into art buying and collecting tendencies throughout the first half of the twentieth century. They also record the effect of fluctuations in the economy including the Depression of the 1930s. Records in this series can be used more effectively in conjunction with the card files in Series 3: Inventory Records. The information found here supports that found in Series 2: Financial and Shipping Records and consists of card files recording stock disposition and a series of stock books. The card files are an invaluable tool for tracking the artwork that passed through Macbeth's hands. Includes printed material published by Macbeth Gallery in addition to exhibition catalogs from other galleries and organizations, art publications, and loose magazine articles and news clippings. Publications represented are the Macbeth Gallery publications Art Notes and Biographical Notes in addition to a set of bound volumes, comprising an almost complete run of the pre-Civil War American art journal The Crayon. The scrapbooks are the collection's main source of Macbeth Gallery exhibition catalogs and related news clippings. They provide comprehensive coverage of the gallery's history and include material on day-to-day events at the gallery as well as important occasions such as the 1908 exhibition of "The Eight" and the gallery's fortieth, fiftieth and sixtieth anniversaries, news of the art world in general and some photographs. Due to their fragile nature, scrapbooks can be consulted only on microfilm. The reference files consist of reference and research files relating to American artists and containing material gathered over time by the Macbeths and Robert G. McIntyre. Several references are made in the gallery's outgoing correspondence to the fact that the gallery was compiling a summmary of ownership of paintings by the best known American artists. Documentation related to this endeavor can be found here in a folder of collection lists of artwork in private and public collections. Named artist files contain important information regarding the provenance of paintings, including some by Gilbert Stuart and Winslow Homer. Other material found here includes photographs of artwork, biographical information on the artists listed, scattered correspondence, clippings, notes, and copies of reference material from printed sources. Miscellaneous material contains transcripts of several lectures and essays written by Robert Macbeth, and an essay on Winslow Homer which he wrote for Living American Art. Also found here is a folder containing notes for a lecture on Israeli art by Robert G. McIntyre; an original drawing and a print by Robert W. Weir; and a transcript allegedly of excerpts from the journal of Marsden Hartley apparently transcribed by an unknown member of the Macbeth Gallery staff. The remaining materials found here are miscellaneous business records of Robert G. McIntyre. The photographs include a rich collection of images of many of the artists whose work was handled by the Macbeth Gallery, as well as photos of the gallery and the artwork. A substantial number of the photographs are original silver gelatin and platinum prints; there are also several daguerrotypes and an original photo postcard. Many of the photographs are autographed and some are addressed to the gallery. The artist most heavily represented in the photograph files is Winslow Homer. The photographs of artists have been digitally scanned and may be viewed on the AAA Digital Collections Database. I. Correspondence, 1838-1968. II. Financial and Shipping Records, 1892-1956. III. Inventory Records, 1892-ca. 1957. IV. Printed Material, 1838-1963. V. Scrapbooks, 1892-1952. VI. Reference Files, 1839-1959. VII. Miscellaneous Files, 1912-1956. VIII. Photographs, ca. 1880-1968. |
| extent | Total: 132.2 linear ft. (partially microfilmed on 194 reels) reels NMc1-NMc81, 439-441, 2820-2823 & 3091-3092 reels 2564-2667 & 3094 |
| formats | Correspondence Financial Records Inventories Scrapbooks Clippings |
| access | Use requires an appointment. Scrapbooks: Fragile; 14 of the 20 originals closed; researchers must use microfilm reels NMc1 - NMc4 for access. |
| record link | https://sirismm.si.edu/EADpdfs/AAA.macbgall.pdf |
| record source | https://www.aaa.si.edu/collections/macbeth-gallery-records-9703 |
| finding aid | Reels NMc 1-NMc 81, 2564-2667, 2820-2823, & 3094: Finding Aid available at AAA offices. Electronic finding aid available at http://www.aaa.si.edu/collections/findingaids/macbgal.htm |
| acquisition information | Material on reels NMc 1-NMc 81, 2564-2667, 2820-2823, 3094 & unmicrofilmed portions donated in several installments, 1955-1966, by Robert G. McIntyre and estate. McIntyre was the last owner of the Macbeth Gallery and nephew of William Macbeth. Material on reels 3091-3092 donated 1974 by Phoebe C. and William Macbeth II, grandchildren of William Macbeth. All former accessions were merged and reprocessed in 2004; the arrangement of the collection does not match the microfilmed materials. |
| updated | 02/14/2025 10:07:44 |
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| title | The Charles Moore Papers, 1905-1917 |
| repository | Detroit Institute of Arts |
| description | These papers, dating from Moore's tenure at the Museum, consist primarily of correspondence regarding his very wide range of concurrent interests and activities. While they cover a span of only four years, they seem to touch on every aspect of his long life's work. The correspondence is primarily socially and professionally oriented, giving evidence of a complex network of social, political, and professional contacts. Charles Moore was made director of the Museum largely because of his position as president of the City Plan and Improvement Commission and his reputation as a man of influence, at a time when the Detroit Museum of Art was seeking a new location and a more central role in the city's life. Not surprisingly, few of these papers show a daily concern for the museum, and the researcher looking for Detroit Museum of Art activities from 1914-17 will find the records of Clyde H. Burroughs, administrative secretary, more to the point. Other records relating to Charles Moore can be found at the Detroit Public Library/Burton Historical Collections, including news clippings, some correspondence and many of Moore's books. The Bentley Library at the University of Michigan has 1 foot of correspondence from 1901-1940 and 5 diaries on 1899-1903. These include his impressions while clerk for the Senate, letters from Daniel Burnham, Gari Melchers, Alexander Calder and others. Location Detroit Institute of Arts Collection DIA Archives Call Number MOR 1-6 |
| extent | 3 linear feet |
| formats | Business Papers Personal Papers Correspondence |
| access | Contact repository for restrictions and policies. |
| record link | http://www.dalnet.lib.mi.us/dia/collections/finding_aids/moore_finding_aid.pdf |
| record source | http://catalog.dalnet.lib.mi.us |
| finding aid | Finding aid available in the repository and on repository's Web site. |
| updated | 02/14/2025 10:07:44 |
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| title | Records of the Director's Office: Frederic Allen Whiting, 1913-1930 |
| repository | The Cleveland Museum of Art |
| description | The records of the Director's Office are the primary source for understanding the decisions made and actions taken at the highest level of the museum's administration. In addition, the records constitute one of the most valuable, unified resources for researching the early history of the museum and its art collection; initial construction and expansion of the museum building; changes in the museum's administrative hierarchy; personalities and activities of individual staff members; artistic and social movements of the first half of the twentieth century; and the museum's relationship with civic, cultural, and educational institutions throughout the country and the world. The records from Frederic Allen Whiting's tenure as director are divided into four main series: I. Numbered Administrative Correspondence, II. Unnumbered Administrative Correspondence, III. Biographical Materials, and IV. Index to Numbered Administrative Correspondence. Citation: The Cleveland Museum of Art Archives, Records of the Director's Office: Frederic Allen Whiting, date and short description of document [e.g., letter from Whiting to Kent, 6 June 1916]. |
| extent | 22.6 cubic feet, 72 boxes |
| formats | Administrative Records Correspondence Subject Files Photographs Drawings |
| access | At minimum, records are closed for 35 years after creation. At the end of the restricted period, the records will still be subject to the review of the archivist before access is granted. |
| record link | http://library.clevelandart.org/museum_archives/finding_aids/whiting/index.php |
| record source | http://library.clevelandart.org/museum_archives/finding_aids/ |
| finding aid | Finding aid available in the repository and on repository's Web site. |
| updated | 02/14/2025 10:07:44 |
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| title | Frank K.M. Rehn Galleries records, 1858-1969, bulk 1919-1968 |
| repository | Archives of American Art |
| description | The Frank K. M. Rehn Galleries records measure 21.8 linear feet and are dated 1858-1969 (bulk 1919-1968). The records consist mainly of business correspondence with collectors, artists, museums and arts organizations, colleagues, and others. A small amount of Frank K. M. Rehn's personal correspondence and a few stray personal papers of individual artists are interfiled. Also included are financial records, scrapbooks, printed matter, miscellaneous records, and photographs documenting most of the history of a highly regarded New York art gallery devoted to American painting. Series 1: Correspondence contains correspondence with artists, museums and arts organizations, collectors, colleagues, and others documents the workings of Rehn Galleries from its earliest days through 1968. A small amount of Frank K. M. Rehn's personal correspondence and a few scattered personal papers of individual artists are interfiled with the business correspondence. Series 2: Financial Records includes banking, insurance, and investment records, tax returns and related documentation, miscellaneous financial records and paid bills. Among the insurance records are detailed monthly schedules listing paintings with titles, artists, and insurance values. Miscellaneous financial records include inventories of gallery stock, notes regarding business expenses and income, and receipt books recording incoming paintings. Also included are a small number of items concerning the personal business of Frank Rehn and John Clancy. Five volumes of Scrapbooks (Series 3) contain clippings and a small number of exhibition catalogs documenting the activities of Rehn Galleries and many of its associated artists. Additional Printed Matter in Series 4 includes material relating to Rehn Galleries and its artists, as well as publications produced by Rehn Galleries. General, art-related printed matter consists of articles, auction catalogs, advertisements, and publications of various museums, arts organizations, and schools. There is also material about artists not affiliated with Rehn Galleries. Additional printed items concern miscellaneous subjects that are not art-related. Series 5: Miscellaneous Records, includes artwork, lists and notes, and writings. Photographs in Series 6 are of people including artists represented by Rehn as well as several not affiliated with the gallery. Noticeably absent are likenesses of Frank Rehn and John Clancy. Photographs of works of art are by Rehn Galleries' artists and others. Reginald Marsh's photographs consist of family and personal photographs that were either given to Rehn Galleries or perhaps loaned for research use, and include views of Marsh from early childhood through later life, photographs of family and friends, and a small family album. Also included are photographs are of Marsh's childhood drawings. Bio / His Notes: Frank K. M. Rehn (1886-1956), son of the marine painter Frank Knox Morton Rehn, after several years' experience as an employee of the Milch Galleries and as exhibition manager for the Salmagundi Club, opened his own art gallery in 1918. In its earliest years, the gallery operated as the Galleries of Frank K. M. Rehn. From the mid 1920s through the mid 1940s, the name used was Frank K. M. Rehn Galleries. As early as 1946, the gallery was referred to simply as Rehn Galleries. The gallery closed in 1981. Throughout its existence, Rehn Galleries specialized in representing American painters. During the first five years Rehn's operation was a private gallery at 6 West 50th Street, New York City. Among the artists he first represented were older, established men such as J. Alden Weir, George Inness, Alexander Wyant, Theodore Robinson, Thomas Dewing, and John H. Twachtman. Occasionally, Rehn handled works by such luminaries of the period as Robert Henri, George Luks, and John Singer Sargent. Among the living artists affiliated with the gallery in its first years were Daniel Garber, Walter Griffin, Dodge MacKnight, and Robert Spencer. Rehn's most popular artist during this time was Childe Hassam, who sued for recovery of a painting that, although acquired by Rehn through a reputable dealer, had been stolen from Hassam's studio many years earlier. Despite the newspaper publicity surrounding Hassam's lawsuit, the business was a successful venture almost immediately. Very early, a number of important collectors including Duncan Phillips, John Gellatly, John T. Spaulding, Albert McVitty, E. W. Root, and C. Vanderbilt Barton displayed confidence in Rehn's judgment and integrity, which enhanced his gallery's reputation and stature among both collectors and artists. In 1923, the gallery moved to 693 Fifth Avenue and began operating as Rehn Galleries, a commercial gallery in the same building that housed in a building that housed Kennedy and Company and the Bourgeois Galleries. At this time, Rehn hired an assistant, John C. Clancy (1897-1981), who had formerly been with Henry Reinhardt and Son and M. Knoedler. The Rehn Galleries soon enjoyed a regular following among museum curators and collectors visiting from out of town. The gallery's roster of artists grew along with its reputation. Rehn focused almost exclusively on American painters, occasionally showing drawings and prints by artists who were primarily painters; notable exceptions were sculptor Mahonri Young and Henry Varnum Poor who, in addition to being a painter, was known for his work in ceramics. Among the painters eventually represented were: Peggy Bacon, George Bellows, Alexander Brook, Charles Burchfield, John F. Carlson, John Carroll, Howard Cook, Jon Corbino, Virginia Cuthbert, Andrew Dasberg, Sidney Gross, Edward Hopper, Alexander James, Irving Kaufmann, Yeffe Kimball, Leon Kroll, Peppino Mangravite, Reginald and Felicia Meyer Marsh, Henry Mattson, Henry Lee McFee, Kenneth Hayes Miller, Charles Rosen, Robert Riggs, Alexander Russo, Elizabeth Sparhawk-Jones, Eugene Speicher, Henry Strater, Richard Derby Tucker, Franklin C. Watkins, and Denny Winters. In 1930, Rehn Galleries moved one block south to the Air France Building at 683 Fifth Avenue, remaining there for thirty years. John C. Clancy, Rehn's long-time assistant, became Gallery Director in 1953 after a stroke prevented Rehn from continuing to run his business in an active capacity. Eventually, Rehn's widow sold Clancy the gallery, which he continued to operate under varying names, including Rehn Gallery, Frank K. M. Rehn Galleries, Frank Rehn Gallery, and Rehn Galleries. From 1960 until 1966, The Rehn Galleries were at 36 East 61st Street from 1960 until 1966, when the gallery moved to a space formerly occupied by Kootz Gallery at 855 Madison Avenue, where it remained in business for another fifteen years. Additional forms: 35mm microfilm reels 5849-5872 available for use at Archives of American Art offices and through interlibrary loan. Loc. of Assoc. Material: Additional Rehn Gallery records also located at: Burchfield-Penney Art Center, Buffalo, N.Y. Co-Creator: Bartlett, Frederic Clay, 1873-1953 Bellows, George, 1882-1925 Brook, Alexander, 1898-1980 Burchfield, Charles Ephraim, 1893-1967 Chappell, Warren, 1904- Clancy, John, d. 1981 Coleman, Glenn O., 1887-1932 Cook, Howard Norton, 1901-1980 Cuthbert, Virginia, 1908-2001 Dasburg, Andrew, 1887- Gellatly, John, 1853-1931 Hawthorne, Charles Webster, 1872-1930 Henri, Robert, 1865-1929 Hopper, Edward, 1882-1967 Hopper, Jo N. (Josephine Nivison), ca. 1883-1968 James, Alexander, 1890-1946 Kroll, Leon, 1884-1974 Luks, George Benjamin, 1867-1933 Mangravite, Peppino, 1896- Marsh, Felicia Meyer, 1912 or 3-1978 Marsh, Reginald, 1898-1954 McFee, Henry Lee, 1886-1953 Melchers, Gari, 1860-1932 Orton, J. Robert Pepper, Charles Hovey, 1864-1950 Phillips, Duncan, 1886-1966 Poor, Henry Varnum, 1887-1970 Russo, Alexander Spalding, John T. Sparhawk-Jones, Elizabeth, 1885-1968 Speicher, Eugene E. (Eugene Edward), 1883-1962 Spruance, Benton, 1904-1967 Strater, Henry, 1896- Tucker, Allen, 1866-1939 Tucker, Richard Derby, 1903- Winters, Denny, 1907-1985 Young, Mahonri Mackintosh, 1877-1957 |
| extent | 21.8 linear ft. |
| formats | Business Papers Correspondence Personal Papers Financial Records Scrapbooks |
| access | The papers have been scanned in their entirety and are available online via AAA's website. Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. |
| record link | https://sirismm.si.edu/EADpdfs/AAA.franrehg.pdf |
| record source | https://www.aaa.si.edu/collections/frank-k-m-rehn-galleries-records-9193 |
| finding aid | Available on the repository's, Archives of American Art's, web site. |
| acquisition information | The Frank K. M. Rehn Galleries records were loaned by John Clancy for microfilming in 1959; in 1966, this same material was donated to the Archives. Mr. Clancy made subsequent gifts of additional gallery records in 1978 and 1981. In 1985, the Whitney Museum of American Art donated to the Archives correspondence with Edward Hopper that John Clancy had loaned the museum many years earlier. A death mask of George Luks received with the collection is on extended loan to the National Portrait Gallery, Smithsonian Institution. Separated and Related Materials John Clancy interview by Paul Cummings, July 10, 1970. Oral History Program, Archives of American Art, Smithsonian Institution. Samuel Adler Papers, 1902-1979. Archives of American Art, Smithsonian Institution. Contains a recording (1 cassette; untranscribed) of Beverly Chesler interviewing John Clancy about the history of Rehn Galleries, 1973; Samuel Adler is present and participates briefly in the interview. In addition, the Archives of American Art has among its collections personal papers and oral history interviews of artists and collectors associated with the Rehn Galleries. Researchers are advised to conduct a name search in the Smithsonian Institution Research Information System (SIRIS). |
| updated | 02/14/2025 10:07:44 |
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| title | Antique Dealers papers, 1911-1957 |
| repository | The Winterthur Library |
| description | This collection contains invoices and correspondence between Henry Francis du Pont and various antique dealers. Biographical Note The Antique Dealers papers is a separate collection of records that track the buying habits of Henry Francis du Pont and what dealers he patronized, such as J.A. Lloyd Hyde, Israel Sack, Joseph Kindig, and many others. The objects he bought are now in the Henry Francis du Pont Winterthur Museum ORGANIZATION Collection is arranged alphabetically by dealer's last name. |
| extent | 66 boxes |
| formats | Correspondence Financial Records |
| access | Contact repository for restrictions and policies. |
| record link | http://findingaid.winterthur.org/html/HTML_Finding_Aids/ARC28.htm |
| record source | http://findingaid.winterthur.org/html/HTML_Finding_Aids/ARC28.htm |
| finding aid | Finding aid available in the repository and on repository's Web site. |
| acquisition information | Collection is owned by the Henry Francis du Pont Winterthur Museum. It was transferred in the 1980s from the main museum building. |
| updated | 02/14/2025 10:07:44 |
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| title | Cornelia Bentley Sage Quinton Records, 1908-1930 |
| repository | The G. Robert Strauss, Jr. Memorial Library |
| description | Records and correspondence of Cornelia Bentley Sage Quinton, director of the Albright Art Gallery from 1910-1924, and the first woman director of a major art museum in the United States. Biographical Note Cornelia Bentley Sage Quinton (1876 or 1880-1936) was a painter, administrator, and promoter of the arts in the United States during the late 19th and early 20th centuries. A native of Buffalo, New York, she began work at the Albright Art Gallery as assistant to the Director, Charles M. Kurtz, in May 1905. Her responsibilities included payroll, accounting, and general secretarial duties. After Kurtz's premature death in March 1909, Sage Quinton was named acting director of the Gallery until October 15, 1910, when the Buffalo Fine Arts Academy unanimously appointed her to the position of Director, thus making her the first woman director of a major art museum in the United States. Her effectiveness was considerable, and in 1916 she was named the first secretary-treasurer of the Association of Art Museum Directors. Preferred Citation [Description and dates], Box/folder number, AK2.3, Cornelia Bentley Sage Quinton Records, 1908-1930, G. Robert Strauss, Jr. Memorial Library, Albright-Knox Art Gallery. Collection number: AK2.3 |
| extent | 7.5 linear feet |
| formats | Administrative Records Correspondence |
| access | Contact repository for restrictions and policies. |
| record link | http://www.albrightknox.org/Library/findingaids/2.3/AK2.3.frame.html |
| record source | http://www.albrightknox.org/Library/findingaids/2.3/AK2.3.frame.html |
| finding aid | Finding aid available in the repository and on repository's Web site. |
| acquisition information | Transferred from the Director's Office. |
| updated | 02/14/2025 10:07:44 |
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