Archives Directory for the History of Collecting in America
Archives related to: De Groot, Adelaide Milton, 1876-1967
| title | Adelaide Milton De Groot artist file : study photographs and reproductions of works of art with accompanying documentation. | repository | The Frick Collection and Frick Art Research Library |
| description | Assembled file includes b&w photographs, reproductions from books and auction catalogs, and in some cases, negatives. Items may include full views, details, before-and-after restoration views, etc. Documentation may include artist name, title of work, medium, dimensions, provenance, exhibition history, related works, previous attributions, and bibliography. Location Frick Photoarchive Stacks Call Number 100 De Groot |
| extent | 2 folders |
| formats | Photographs |
| access | These records are open for research under the conditions of The Frick Collection/Frick Art Reference Library access policy. Frick: Photocopies of items and accompanying documentation are available upon request, subject to fees and other current guidelines for reproduction. Photographic prints from the Library's negatives may be ordered subject to copyright requirements. |
| record source | https://library.frick.org/permalink/01NYA_INST/1qqhid8/alma991002831669707141 |
| finding aid | Item-level control. |
| acquisition information | The Library continues to add to the file. |
| updated | 10/28/2024 11:05:01 |
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| title | De Groot family papers, 1837-1965. | repository | The New-York Historical Society |
| description | Correspondence, diaries, notebooks, stories, and miscellaneous papers, ca. 1837-1965, of various members of the De Groot and related Hawley family, their relations, and friends, especially Elizabeth King Hawley, who married William De Groot, and Adelaide Milton De Groot, the donor. Materials include 52 letters to William De Groot during 1838-180, when he was a student at Mr. E. Fairchild's school in Plainfield, New Jersey, including many from his friends, T. Howard Conway and Julius S. Hitchcock; ca. 15 letters from Elizabeth and Marianna Hawley to their family and friends, written from Washington, D.C., in 1852-1853, when they were staying with Elizabeth Schuyler Hamilton, widow of Alexander Hamilton, and wrote of social life in Washington; correspondence and papers relating to claims against Madame Hedwige Zak of Gallerie Zak in Paris, concerning the authenticity of a Renoir, Cézanne, and Corot purchased by collector Adelaide Milton De Groot; extensive correspondence with persons in Nice, Cannes, San Remo, Paris, and elsewhere in Europe, usually friends or relatives on vacation or relocated there, particularly Mary and Grace De Groot who lived at the Hotel de Savoy in San Remo for many years. Frequent correspondents were: Emmeline Smith Hawley, Jane de Forest Windle of Tarrytown, Eliza H. Holly, Fanny De Groot, William De Groot, Elizabeth (Bessie) De Groot, wife of Giulio Caravadossi, Comte d'Aspremont, Francis E. Brantingham, Martha Coggeshall Brantingham, Fanny Bosworth, Rebecca Tappan, Alice E. Hawley, Fanny Baylis, Eleanor C. Mundé, F. S. Hastings, Charles Hawley, Michele de Zogheb, Frances Robinson, Anna De Groot, Mary Windle, Sophie Windle, and Frank Hawley. Biographical and Historical Note Family of New York City, with members also residing in France, Washington, D.C., and elsewhere. Related Material For related materials at the Society, see the manuscript bound volumes shelved under BV De Groot and the De Groot family photograph collection (PR-120) in the Dept. of Prints, Photographs and Architectural Collections. Location New-York Historical Society Collection Mss Collection Call Number De Groot family papers |
| extent | 7 linear ft. |
| formats | Correspondence Diaries Notebooks Ephemera |
| access | Access: open to qualified researchers at The New-York Historical Society |
| record link | https://bobcat.library.nyu.edu/permalink/f/22u4kq/nyu_aleph000827723 |
| record source | http://www.bobcat.nyu.edu |
| updated | 10/20/2021 14:15:42 |
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| title | De Groot family photograph collection[graphic].. | repository | The New-York Historical Society |
| description | Collection of family photographs, 1853-ca. 1960 and undated, of Adelaide Milton de Groot and portraits of members of her extended family including her parents, siblings, cousins, and their ancestors. Interested in genealogy, she documented the members of families related to her own by marriage including the Bosworth, Brantingham, Foote, Hastings, Hawley, and Robinson families. Her New York cousins included yachtsman, composer, and photographer Frank Seymour Hastings (1853-1924) and his brother, the noted architect Thomas Hastings (1860-1929), the sons of the Reverend Thomas Samuel Hastings (1827-1911) and Fanny de Groot. Adelaide de Groot's sister Elizabeth (1874-1898) married an Italian diplomat, Giulio Caravadossi, Count of Aspremont; the collection includes many photographs of the Caravadossis and "La Tour Aspremont Baumettes," their family home in Nice, as well as a post-mortem photograph of their daughter Teresina (1899-1917). Other sitters include family friends such as the author Baron Gabriel d'Orgeval. There are group photographs that include members of the expatriate community before the second World War. In addition, there are visual records of Miss de Groot's activities with the American Colony Hospital at Nice, France (1915-1918) and the Daughters of the American Revolution (Philadelphia and Washington chapters visiting Paris in 1932). Most of the photographs are annotated on the verso with information about the sitters including, in some cases, details of the colors and fabrics of their clothing, and, in others, extensive anecdotal narratives regarding their personalities, relationships, and life situations. Historical Note: Daughter of China trade ship owner William de Groot (1825-1898) and his second wife Elizabeth King Hawley (1833-1926). A painter, art collector, and philanthropist, Miss de Groot was born in New York City and moved with her family to Nice, France, in 1891. She lived in Europe for forty years before returning to New York in 1933. location New-York Historical Society Collection Print Room Call Number PR-120 |
| extent | 1.88 linear ft. (3 boxes). |
| formats | Photographs |
| access | Contact repository for restrictions and policies. |
| record link | http://dlib.nyu.edu/findingaids/html/nyhs/degroot/ |
| record source | http://www.bobcat.nyu.edu:1701/primo_library/libweb/action/display.do?ct=display&doc=nyu_aleph000695544&indx=2&fn=search&ct=search&vid=NYU&vl(212921975UI0)=any&indx=1&dum=true&vl(freeText0)=De Groot family papers&srt=rank&vl(1UI0)=exact&frbg=&tab=all&vl(273365431UI1)=all_items&mode=Basic&scp.scps=scope%3A(NS)%2Cscope%3A(CU)%2Cscope%3A(%22BHS%22)%2Cscope%3A(NYU)%2Cscope%3A(%22NYSID%22)%2Cscope%3A(%22NYHS%22)%2Cscope%3A(GEN)#http://www.bobcat.nyu.edu:1701/primo_library/libweb/action/display.do?fn=display&doc=nyu_aleph000695544&vid=NYU&persistent |
| updated | 10/20/2021 14:03:31 |
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| title | De Groot family genealogical research papers, 1936-1966. | repository | New York Public Library, Manuscripts and Archives Division |
| description | The papers contain the research of Adelaide Milton de Groot - including her notes, family charts, and correspondence. Adelaide Milton de Groot researched the de Groot family and the families related to her by marriage, namely the Bosworth, Brantingham, Foote, Hastings, Hawley and Robinson families. The collection consists primarily of handwritten genealogical notes and charts. Correspondence, pertaining to her genealogical research, copies of original documents, and photographs of gravestones and family houses are also included. Biographical note: Adelaide Milton de Groot (1876-1967) was the daughter of William de Groot, a ship owner employed in the China trade and his second wife Elizabeth King Hawley. A painter, art collector and philanthropist, Miss de Groot was born in New York City and moved with her family to Nice, France in 1891. She lived in Europe for forty years before returning to New York in 1933. Her New York cousins included yachtsman, composer and photographer Frank Seymour Hastings and his brother the noted architect Thomas Hastings, who were the sons of Reverend Thomas Samuel Hastings and Fanny de Groot. Adelaide de Groot's sister Elizabeth married an Italian diplomat, Guilio Caravadossi, the Count of Aspremonte. After de Groot's return to New York, she pursued an interest in her family's genealogy. Location: SASB - Manuscripts & Archives Rm 328 Call No.: MssCol NYGB 18172 Location of Other Archival Materials Related collections include the De Groat family genealogical research papers and the De Groot Family Genealogy, Manuscripts and Archives Division, New York Public Library; and the de Groot Family Papers and the de Groot Family Photographs, New-York Historical Society, New York, NY. |
| extent | .83 linear feet (2 boxes). |
| access | Advance notice required. Apply at http://www.nypl.org/mssref |
| record source | http://catalog.nypl.org/record=b18095433~S1 |
| finding aid | See New York Public Library for further details. |
| acquisition information | Gift of Walter Bradford De Groat to the New York Genealogical and Biographical Society, 1985. |
| updated | 10/14/2016 14:03:07 |
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| title | Milch Gallery records, 1911-1995 | repository | Archives of American Art |
| description | The records of Milch Gallery document the business transactions of the corporation and the professional and personal relationships of the Milch brothers with the artists they represented, as well as with the larger community of artists and art dealers between 1911 and 1995. Unfortunately, early correspondence is sparse. In a letter responding to a 1951 request for historical information, Milch replied: "Several years ago [1947] we had to give up our gallery at 108 West 57th Street, and move to smaller quarters here. Since we had no room for old records, we had to destroy most of them." Alphabetical files are comprised mainly of incoming correspondence from 1911 to 1962. Correspondence concerns arrangements for exhibitions, sales and consignments, advice to collectors and executors of estates, and routine business matters. A number of the artists represented in these files were friends of the Milch brothers and some of their letters mention their personal lives as well as their formal business with the Gallery. Collectors who routinely dealt with Milch Galleries included John Gellatly, Mary Blair, Hersey Egginton, Carlton Palmer, and Edward Coykendell; a three volume manuscript catalogue of Coykendell's collection is included. Among the estates handled by Milch were Willard Metcalf, John Twachtman, Abbott H. Thayer, Maurice Fromkes, and Thomas Moran. Also found are sales records and other financial records such as general ledgers, sales and purchase records, and tax information. Printed matter consists of gallery exhibition catalogs, checklists, invitations, announcements, publications, and scrapbooks. Many catalogs and checklists are annotated with prices and other information. A complete run of Milch Galleries Art Notes, issued intermittently from 1918-1928/29 is preserved with the gallery records. as is a scrapbook relating to early exhibitions held at the Edward Milch Galleries and E. & A. Milch, Inc., and artists represented by them. Photographs included with the records are less voluminous than might be expected, and pictures of works of art predominate. There are also a very small number of exterior and interior photographs of Milch Gallery, photographs of people including artists, Edward and Albert Milch, and photographs of groups such as Ten American Artists and the Associated Dealers in American Paintings. The 1995 and 2014 additions measure 3 linear feet and date from 1922-1995. Milch Gallery activities are documented through correspondence; artists' files; financial, sales, and stock records; printed material; and photographs. Biographical/Historical Note: Milch Gallery is an art gallery in New York, N.Y. Founded in 1912 by Edward Milch (1865-1954), who established a partnership with his brother Albert (1881-1951) in 1916, incorporating as E. & A. Milch but soon after becoming Milch Galleries. In the early years, a large part of the business consisted of framing, cleaning and restoration services, and the sale of prints; by the 1920s the focus had shifted to American paintings, although fine framing remained a side line. Name changed to Milch Gallery in 1967, and the business dissolved upon the death of Albert's son Harold C. Milch (1904-1981). Milch Gallery gave the Archives of American Art a small selection of correspondence, photographs, and printed matter, and loaned a few other items in 1966-1967; these records were microfilmed on reels D285, N730, and NM1-NM2. Records of the Milch Gallery were purchased from the estate of Harold C. Milch by Elliott Galleries of New York City, and subsequently acquired by Salander-O'Reilly Galleries, which donated them to the Archives in 1986. With the exception of the scrapbook about Thomas Moran (reel N730; present location of the original is unknown), prior loans and gifts from Milch Gallery were incorporated and refilmed with the 1986 gift. Additional material donated 1995 and 2014 by Hirschl & Adler Galleries, Inc. |
| extent | 42.2 linear feet |
| formats | Correspondence Financial Records Photographs Inventories Scrapbooks |
| access | Microfilmed portion must be consulted on microfilm. Use of unmicrofilmed portion requires an appointment. |
| record link | https://sirismm.si.edu/EADpdfs/AAA.milcgall.pdf |
| record source | https://www.aaa.si.edu/collections/milch-gallery-records-8207 |
| finding aid | Electronic finding aid available at http://www.aaa.si.edu/collections/findingaids/milcgall.htm |
| acquisition information | Donated 1986 by the Salander-O'Reilly Galleries, who acquired them from Elliott Galleries of New York City. Elliott Galleries purchased the records from the estate of Harold Milch. With the exception of the scrapbook on Thomas Moran (reel N730), the small amount of material which had previously been lent for microfilming by the Milch Galleries (reels D285 and NM1-2), was incorporated and remicrofilmed with the records in 1991 (reels 4410-4465). In 1995, an additional 0.6 ft. of records were donated via Hirschl & Adler Galleries. |
| updated | 06/09/2023 15:39:52 |
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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 | Correspondence Financial Records Photographs Scrapbooks Works of Art |
| 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 | 06/08/2023 16:42:14 |
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| title | Perls Galleries records, 1935-1997. | repository | Archives of American Art |
| description | The records of the Perls Galleries measure 79.7 linear feet and date from 1937 to 1997. Founded by Klaus Perls in 1937 and operating until 1997, the gallery dealt primarily in modern French art and the artwork of Alexander Calder. Found within the records are extensive correspondence (circa 44 linear feet) with artists, dealers, galleries, museums, and collectors; photographs and negatives of inventory and other artwork; exhibition files, scattered financial records; and exhibition catalogs and clippings. Correspondence primarily discusses sales (and includes invoices), loans, and exhibitions, as well as more routine activities such as gallery maintenance, the printing of exhibition catalogs and letterhead, and the shipment, framing, or restoration of artwork. Many letters enclose photographs, negatives, or slides of artwork, and clippings. A few letters contain oversize architectural or engineering drawings, and a small handful of letters are illustrated. Correspondents include artists such as Darrell Austin, Joan Miró, Pablo Picasso, and Karl Priebe; galleries such as the Corcoran Gallery, Fujikawa Galleries, Galerie Maeght, and the Pierre Matisse Gallery; museums such as the Art Institute of Chicago, the Museum of Modern Art, the National Gallery of Art, and the Whitney Museum of Modern Art; collectors such as Morris and Gwendolyn Cafritz, Adelaide de Ménil, Valentine Dudensing, and Henry Ford, II; and celebrity clients such as Greta Garbo, Alfred Hitchcock, Henry and Clare Booth Luce, and Barbra Streisand. The records contain nearly thirty-two linear feet of photographs and negatives. Photographs are of artists and the inventory of the gallery's artwork. Additional photographs represent artwork either by artists not represented by the gallery or not included in the gallery's inventory. Most of the photographs are black and white. Over fifteen linear feet of negatives are of gallery stock. Photographs are also found in the exhibition files. There is a relatively small amount of records relating to exhibitions, loans, and sales. Found are exhibition lists, schedules, invitations and announcements, photographs of exhibition installations, press releases, and records of loans to other institutions and galleries. Sales records include artist lists, inventory lists, invoices, pick up and delivery receipts, and price lists. Printed materials include a large number of clippings and an incomplete run of catalogs from Perls Galleries exhibitions between 1939 and 1980. The collection also includes ten original pencil drawings from John Canaday's series entitled My Beautiful Girls and a reproduction of eight drawings from the same series Biographical/Historical Note: The Perls Galleries (1937-1996) was a New York art gallery. The gallery dealt in contemporary French artists of the School of Paris, such as Georges Braque and Pablo Picasso, but also acted as the primary representative of Alexander Calder beginning in 1954. |
| extent | 79.7 linear ft. |
| formats | Catalogs Photographs Clippings Works of Art Correspondence |
| access | This collection was sealed until the death of Klaus Perls in 2008. The collection was processed by Julie Schweitzer in 2008. |
| record link | https://sirismm.si.edu/EADpdfs/AAA.perlgall.pdf |
| record source | https://www.aaa.si.edu/collections/perls-galleries-records-6120 |
| acquisition information | Donated 1997 by Douglas Mayhew, long-time associate of the family. |
| updated | 06/09/2023 15:39:53 |
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| title | Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 | repository | Archives of American Art |
| description | The records of art gallery Jacques Seligmann & Co., Inc., include extensive gallery correspondence files, reference files on American and European collectors and their collections, gallery inventory and stock records, financial records, exhibition files, auction files, and the records of subsidiary companies, including de Hauke & Co., (later Modern Paintings, Inc.), and Gersel Corporation (records for firms Tessa Corp. and Georges Haardt & Co. are not found). Included within the collection are Germain Seligman's personal correspondence, writings, and records relating to his private art collection. The records primarily document the gallery's business after becoming established in New York under the direction of Germain Seligman, but also include records of the Paris office, providing a comprehensive view of the activities and transactions of collectors and art dealers in the years leading up to and following World War II. The largest series, Correspondence (80 ft.), includes general correspondence of Jacques Seligmann & Co., Inc., primarily when Germain Seligman directed the firm and the New York office. Correspondents include U.S. and European clients, artists, collectors, museums, dealers, galleries, shippers, U.S. and foreign government agents, bankers, and insurance firms. Also found are personal correspondence of Germain Seligman; legal correspondence and other documentation concerning specific and general legal affairs (including attempts to recover Seligmann family and gallery artwork stolen in Paris during WWII); abstracts of letters sent; a small group of outgoing correspondence; correspondence of staff and agents Theresa D. Parker, Clyfford Trevor, and Rolf Hans Waegen; and inter-office memoranda. Series 2, Collector's Files (35 linear ft.), document the firm's extensive system of tracking important clients and collectors in the art world. Files contain descriptions or artwork, sale prices, locations, and photographs of work owned by individuals as well as major American and European museums. Included in this series are files documenting the firm's involvement with the Duc d'Arenberg Collection, the Clarence H. Mackay Collection, Mortimer L. Schiff Collection, and the Prince of Liechtenstein Collection; and additional files and notebooks relating to collectors and collections. Auction and Exhibition Files trace the sales and exhibition activities undertaken by the firm. Reference Files includes a card catalog to books and catalogs in the firm's library, and a photograph reference index to works. Financial Files and Shipping Records consists primarily of records of the New York office, and includes purchase receipt files, credit notes, invoices, consignment invoices and books, invoices, consular invoices, sales and purchase account books, ledgers, and tax records. The De Hauke & Co. Inc. records, 1925-1949, contain records of the firm's largest subsidiary. Included are correspondence, administrative and legal files, and financial records. The records of the firm established to incorporate most of de Hauke & Co.'s stock, Modern Paintings, Inc., include legal and financial files. Germain Seligman's Personal Papers series includes scattered family and biographical material; research and writing files for his books, Roger de La Fresnaye, with a Catalogue Raisonne (1969), Merchants of Art, 1880-1960: Eighty Years of Professional Collecting (1961), The Drawings of Georges Seurat (1947), and Oh! Fickle Taste; or, Objectivity in Art (1952), and other writings and articles, including those co-authored with his wife, Ethlyne J. Seligman; documentation on his personal art collection, photographs of family members, and the Paris gallery. |
| extent | 203 linear ft. |
| formats | Correspondence Financial Records Inventories Photographs Notes |
| access | Use of original papers requires an appointment |
| record link | https://sirismm.si.edu/EADpdfs/AAA.jacqself.pdf |
| record source | https://www.aaa.si.edu/collections/jacques-seligmann--co-records-9936 |
| finding aid | Published finding aid available (279 p.): Finding Aid to the Records of Jacques Seligmann & Co., 1904-1978. Electronic finding aid available at http://www.aaa.si.edu/collections/findingaids/jacqselc.htm |
| acquisition information | Donated 1978-1979 by Mrs. Germain Seligman, daughter-in-law of Jacques Seligmann. Additional material was acquired in 1994 through the Estate of Mrs. Seligman. The Paris archives of Jacques Seligmann & Co., Inc., were destroyed by the Seligmann staff in 1940 to prevent them from falling into the hands of the Nazis. |
| updated | 06/08/2023 16:42:15 |
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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 | 06/08/2023 16:42:17 |
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