Archives Directory for the History of Collecting in America

Archives related to: Walters, W. T. (William Thompson), 1819-1894

titleWilliam Henry Rinehart papers, 1861-1875.
repositoryArchives of American Art
collection titleBound volume containing 13 letters from Rinehart to William T. Walters, a letter from Rinehart to John W. Paine, 21 letters from Paine to Rinehart, Walters and others, letters from George Simonds, Charles C. Coleman and others describing Rinehart's last days and funeral in Rome, 33 letters from W.H. Herriman to Walters regarding the dissolution of Rinehart's estate, and a codicil of Rinehart's will; an inventory of Rinehart's possessions; notes, receipts and financial records; 2 account books; an estate book; 5 sketchbooks/ notebooks and 2 sketchbooks; and 1 photograph of Rinehart.

Biographical and Historical Note
Sculptor; Baltimore, Md. and Rome.
extentca. 250 items (on partial microfilm reel) reel 3116
formatsCorrespondence Financial Records Photographs Sketchbooks Notes
accessPatrons must use microfilm copy.
record sourcehttp://www.siris.si.edu/
finding aidInventory of correspondence and miscellaneous items available at Archives of American Art offices.
acquisition informationLent for microfilming 1984 by the Peabody Institute.
updated09/12/2019 15:28:52
....................................................................


titleWalters Art Gallery Archives
repositoryWalters Art Museum
collection titleSince its inauguration as a public institution in 1934, the Walters Art Museum has maintained records pertaining to the history of the institution and its acquisitions and exhibitions. Historical files include architectural drawings and plans for renovations and new construction, early collection catalogues, photographs of installations, Walters family memorabilia, and correspondence regarding the development of the collections and their conveyance to the city of Baltimore.
formatsAdministrative Records Catalogs Photographs Ephemera Correspondence
accessThe archives are not yet open to the public, but the museum's staff is willing to answer questions and make available material pertaining to the history of the museum.
bibliographyA history of the Walters family and the creation of the museum is provided in William R. Johnston's William and Henry Walters, the Reticent Collectors (Baltimore: The Johns Hopkins University Press in association with the Walters Art Gallery, 1999).
record sourcehttp://www.thewalters.org/works_of_art/worksofart_resources_archives.aspx
updated11/12/2014 11:29:54
....................................................................


titleWilliam Henry Rinehart Fund records, 1875-1930.
repositoryArchives of American Art
collection titleCorrespondence, business records, printed matter, photographs and miscellany.

A statement of purpose of the fund; a volume of Rinehart Committee meeting minutes, including Rinehart's will; abstracts of minutes and reports of the Rinehart Committtee; a ledger recording Rinehart Fund expenditures, including cash paid for scholarships, instructors' salaries, models, shipment of works from Rome and Paris to Baltimore, and sculpture acquisitions; William T. Walters and B. F. Newcomer's account with Rinehart's estate; bills and receipts; printed material, including regulations for scholarships; clippings; and miscellany.

Correspondence includes ca. 200 letters from Rome and Paris, from Rinehart scholars including letters from J. Edgar Stouffer, with one letter containing 5 photographs of his sculpture, C. Percival Dietsch, Alexander Phimister Proctor, Hermon Atkins MacNeil, Hans Schuler, Charles Keck, J. Maxwell Miller and others; correspondence and indexed abstracts of letters of the Rinehart Advisory Committee, including letters from Augustus Saint-Gaudens, Daniel Chester French, Edwin Howland Blashfield and Charles K. McKim; correspondence of the Rinehart Fund Committee and Peabody Institute officials, including letters from Daniel Coit Gilman, Faris C. Pitt, Lawrason Riggs, Henry Walters, and P.R. Uhler; and a letterpress book.

Co-Creator:
Gilman, Daniel Coit, 1831-1908
Keck, Charles, 1875-1951
MacNeil, Hermon Atkins, 1866-1947
Miller, Joseph Maxwell, 1877-1933
Pitt, Faris C.
Proctor, Alexander Phimister, 1862-1950
Riggs, T. Lawrason (Thomas Lawrason), 1888-1943
Saint-Gaudens, Augustus, 1848-1907
Schuler, Hans, 1874-1951
Stouffer, J. Edgar
Uhler, Philip R., 1835-1913
Walters, Henry, 1848-1931
Walters, W. T. (William Thompson), 1820-1894
Blashfield, Edwin Howland, 1848-1936
Dietsch, C. Percival, 1881-1961
French, Daniel Chester, 1850-1931
Johns Hopkins University. Peabody Institute

Bio / His Notes:
The American neo-classical sculptor, Willam Henry Rinehart, established this fund through a bequest to provide scholarships for young artists to study in Paris and at the American Academy in Rome. Administered through the Peabody Institute, Baltimore, Md.
extentca. 800 items (on partial microfilm reel) reel 3162
formatsMicrofilm
accessPatrons must use microfilm copy.
record sourcehttp://www.siris.si.edu/
acquisition informationLent for microfilming 1984 by the Peabody Institute. Originals in Peabody Institute, Baltimore, Maryland.
updated11/12/2014 11:29:54
....................................................................


titleGeorge A. Lucas papers, 1825-2003 [bulk 1824-1909] MS.10
repositoryBaltimore Museum of Art
collection titleThe George A. Lucas Papers contain the correspondence, art collection-related papers, and subject files of George A. Lucas, as well as several of his friends and colleagues. They document Lucas’ work as an art agent in late 19th and early 20th century Paris and his collections of artwork, spanning the years 1862 to 1909. They also contain research materials relating to the Lucas Papers that were not part of Lucas’ original collection.

The Papers are housed in 19 boxes and consist of three series: Subject Files, Personal Papers and Lucas Research Collection. One box contains Oversize material. The majority of the material in the Lucas Papers was originally stored with many of the paper based artworks in his collection, pasted to the pages of large folios in the collection of the Prints, Drawings and Photographs Department. For example, letters and newspaper clippings about artists were attached alongside the artist’s prints and drawings. The artwork was separated from the other material by the Conservation Department for improved access and security, the artworks retained in PDP, and the letters and ephemera sent to the Archives and Manuscripts Collections. Note that some items have retained accession numbers and are cross-referenced in the BMA’s collection database.

Lucas also pasted ephemeral material about artists in some of the books in his collection. A thorough inventory of this material has not yet been done and none of it has been removed from the books. A few items from Félix Ziem have already been found and their location is noted along with the other Ziem material in the Subject Files Series. As other material is located, it will be added similarly.

Where names, dates or other information was either indecipherable or missing, The Diary of George A. Lucas and other reference sources have been checked to obtain correct information. Names have been verified in either the Getty’s Union List of Artist Names or Bénézit’s Dictionary of Artists.

In general, materials are arranged alphabetically by correspondent or subject and then by date. Exceptions are noted below.

Additional reference materials stored with the Lucas Papers include a photocopy of handwritten translations of some of the correspondence in the Subject Files. The original translations can be difficult to read, however, in some cases they were used to aid in the translations in this finding aid. A photocopy of Lucas’ collection inventory, “Catalogue – Eaux Fortes” is also available and should be used in place of the original.


Biographical Information
George Aloysius Lucas was born May 29th, 1824 in Baltimore, Maryland. His father, Fielding Lucas, Jr. owned a publishing and stationer’s company in Baltimore that was known for publishing maps, atlases and several important drawing books and was to eventually become Lucas Bros. Inc. Leaving his brothers to assist with the family business, Lucas left Baltimore in 1851 to work for the New York, New Haven Railroad and subsequently worked for several other railroad companies before moving to Paris in 1857.

In Paris, Lucas made his living as an art agent, buying and commissioning paintings, prints, and drawings for wealthy American friends such as William Henry Huntington, Frank Frick, William Walters, Samuel Putnam Avery, and William Henry Huntington. He met and befriended many artists and made frequent visits to their studios to see their works in progress.

At the same time, Lucas was making his own purchases and putting together his remarkable collection of artworks and books. Beginning in 1887, Lucas worked with Walters on the Barye Monument Committee and was also instrumental in putting together the Barye exhibition at the École des Beaux-Arts in 1889.

Lucas’ companion in Paris was Octavie-Josephine Marchand, who though never mentioned by anything other than “M” in either his diaries or correspondence, was an important figure in his life. Lucas remained in Paris until his death on December 17th, 1909.

Language of Materials
Material is in French and English. Correspondence from British and American persons is generally in English.

Existence and Location of Copies
For complete transcriptions of the Whistler letters held by the BMA, see The Centre for Whistler Studies: http://www.whistler.arts.gla.ac.uk/index.htm.

extent3.2 Linear feet ; 19 boxes
formatsCorrespondence Artist Files Clippings Photographs Ephemera
accessThe collection is open for research. The George A. Lucas Papers are part of The George A. Lucas Collection, purchased with funds from the State of Maryland, Laurence and Stella Bendann Fund, and contributions from individuals, foundations, and corporations throughout the Baltimore community, and are the physical property of the Archives and Manuscripts Collections, Baltimore Museum of Art. Copyright, except in cases where material has passed into the public domain, belongs to the authors or their legal heirs and assigns. For further information, consult a Library staff member
record linkhttp://cdm16075.contentdm.oclc.org/cdm/landingpage/collection/p16075coll6
bibliographyThe Diary of George A. Lucas, an American Art Agent in Paris, 1857-1909. Princeton, NJ: Princeton University Press, 1979.
record sourcehttp://www.artbma.org/library/finding_aids/LucasPapers.html
finding aidIn repository and on the repository's website
acquisition informationGeorge A. Lucas willed his art collection and papers to Henry Walters on his death in 1909. Walters donated the entire collection to The Maryland Institute, College of Art in 1911. The collection was moved to the BMA beginning in 1933 and was finally purchased by the BMA in 1996. In 2005 the letters and ephemera in the collection were transferred from the Prints, Drawings and Photographs Department to the Archives and Manuscripts Collections.
updated11/12/2014 11:29:54
....................................................................


titleJohn Frederick Kensett papers, 1806-1896.
repositoryArchives of American Art
collection titleCorrespondence, register of paintings sold, financial material, photographs, a diary, biographical information, a sketchbook, and printed material.

REELS N68/84-N68/85: Correspondence, mostly with family members and with many of Kensett's letters describing life, artists, and patrons while working in Europe; an annual register of paintings sold; miscellaneous bills, cancelled cheks, and personal legal papers; and photographs of Kensett, his studio, members of his family and the 1864 Metropolitan Fair art exhibition.

REEL N738: A diary kept by Kensett while in Naples, Rome, and London, 1847.

REEL N737: Documents, obituary notices, clippings, and lists of paintings in Kensett's estate, 1873.

REELS 1533-1534: Correspondence with Thomas Gold Appleton, Eugene Benson, John William Casilear, Benjamin Champney, Jasper Francis Cropsey, Daniel Huntington, the Kellogg family, George and J. R. Lambdin, Thomas P. Rossiter, William T. Walters, and others; notes and financial papers regarding the Metropolitan Fair of the U.S. Sanitary Commission; passports; sketchbooks; and social invitations.

Bio / His Notes:
Landscape painter; b. Cheshire, Conn.
extentca. 2,020 items (on 6 microfilm reels) reels N68/84-N68/85, N737, N738, and 1533-1534
formatsCorrespondence Financial Records Diaries Legal Papers Personal Papers
accessPatrons must use microfilm copy.
record sourcehttp://www.siris.si.edu/
finding aid A finding aid to correspondents on reels N68/84-N68/85 found on reel N68/84, frames 3-43. A finding aid to correspondence on reels 1533-1534 at AAA offices.
acquisition informationMaterials on reels N68/84-N68/85 and N738 lent for microfilming 1968 by James R. Kellogg grand-nephew of Kensett. Materials on reel N737 lent 1968 by Kennedy Galleries of New York which obtained some of Kensett's estate papers. Materials on reels 1533-1534 lent 1979 by New York State Library. Originals returned to lenders after microfilming.
updated11/12/2014 11:29:54
....................................................................


titleThomas F Meehan Papers, 1859 - 1920 (Bulk: 1880 - 1915)
repositoryGeorgetown University
collection titleSee repository's website for online inventory of collection (teh papers consist of corresponense and personal papers)
extent1 box
formatsCorrespondence Personal Papers
accessContact repository for restrictions and policies.
record sourcehttp://www.library.georgetown.edu/dept/speccoll/fl/f213%7D1.htm
updated11/12/2014 11:30:02
....................................................................


titleM. Knoedler & Co. records, approximately 1848-1971
repositoryThe Getty Research Institute
collection titleThe records of M. Knoedler & Co. document the business of the prominent American art dealer from the mid-19th century to 1971, when the Knoedler Gallery was acquired by Armand Hammer. The archive traces the development of the once provincial American art market into one of the world's leading art centers and the formation of the private art collections that would ultimately establish many of the nation's leading art museums, such as the Frick Collection and the National Gallery of Art.

It brings to the foreground the business side of dealing as artworks shuttled back and forth among Knoedler, fellow dealers, and collectors, documenting developments in art connoisseurship, shifting tastes, the changing role of art in American society, and the essential role of private collectors in the formation of public American art collections.

The records provide insight into broader economic, social and cultural histories and the nation's evolving sense of place in the world. The Knoedler Gallery became one of the main suppliers of old master and post-Impressionist paintings in the United States. Financial records of the firm provide crucial provenance information on the large number of artworks in American museums that were sold by the gallery. The archive includes stock books, sales books and commission books; correspondence with collectors, artists, art dealers and other associates; photographs of the artworks sold by the gallery; records from the firm's offices in London, Paris and other cities; exhibition files; framing and restoration records, and records of the firm's Print Department.

Selected portions of the archive have been digitized and made available online. Connect to selected digitized portions of the archive.

Arranged in 14 series:
Series I. Stock books;
Series II. Sales books;
Series III. Commission books;
Series IV. Inventory cards;
Series V. Receiving and shipping records;
Series VI. Correspondence;
Series VII. Photographs;
Series VIII. Exhibition files;
Series IX. American Department records;
Series X. Framing and restoration records;
Series XI. Print Department records;
Series XII. Other financial records;
Series XIII. Library cards, scrapbooks, and research materials;
Series XIV. Knoedler family papers


Biographical/Historical Note:
M. Knoedler & Co. was a successor to the New York branch of Goupil & Co., an extremely dynamic print-publishing house founded in Paris in 1827. Goupil's branches in London, Berlin, Brussels, and The Hague, as well as New York, expanded the firm's market in the sale of reproductive prints.

The firm's office in New York was established in 1848. In 1857, Michael Knoedler, an employee of Goupil and a manager for the firm, bought out the interests in the firm's New York branch, conducted the business under his own name, and diversified its activities to include the sale of paintings. Roland Knoedler, Michael's son, took over the firm in 1878 and with Charles Carstairs opened galleries in Paris and London.

In 1928, the management of the firm passed to Roland's nephew Charles Henschel, Carman Messmore, Charles Carstairs and Carstairs' son Carroll. In 1956 Henschel died, and E. Coe Kerr and Roland Balaÿ, Michael Knoedler's grandson, took over. In 1971 the firm was sold to businessman and collector Armand Hammer. The gallery closed in November 2011.

extent3042.6 linear feet (5550 boxes, 17 flat file folders).
formatsAuction Catalogs Business Records Correspondence Financial Records Ephemera
accessOpen for use by qualified researchers, with the following exceptions. Boxes 77, 262-264, 1308-1512, 1969-1974, 3592-3723 are restricted due to fragility. Box 4468 is restricted until 2075.
record linkhttp://hdl.handle.net/10020/cifa2012m54
record sourcehttp://primo.getty.edu/GRI:GETTY_ALMA21129976460001551
contact informationContact gallery's archivist
finding aidAt the Getty Research Institute and over their website.
acquisition informationAcquired in 2012.
updated05/29/2018 14:44:15
....................................................................