Archives Directory for the History of Collecting in America
Archives related to: Gellatly, John, 1853-1931
| title | John Gellatly letters received from artists, 1887-1931. |
| repository | Archives of American Art |
| description | 120 letters to Gellatly from Irving Wiles, Frederick S. Church, C. E. S. Wood, Emma and Abbott H. Thayer, George Grey Barnard, and Albert Pinkham Ryder. Some of the letters contain sketches, particularly those from Church. Co-Creator: Ryder, Albert Pinkham, 1847-1917 Thayer, Abbott Handerson, 1849-1921 Thayer, Emma B., 1850-1924 Wiles, Irving Ramsay, 1861-1948 Wood, Charles Erskine Scott, 1852-1944 Barnard, George Grey, 1863-1938 Church, Frederick S. (Frederick Stuart), 1842-1924 |
| extent | 0.2 linear ft. (on partial microfilm reel) reel 2041 |
| formats | Correspondence |
| access | Patrons must use microfilm copy. |
| record link | https://sirismm.si.edu/EADpdfs/AAA.gelljohn.pdf |
| record source | https://www.aaa.si.edu/collections/john-gellatly-letters-received-artists-8212 |
| finding aid | List of letters available at Archives of American Art offices. |
| acquisition information | The collection was initially bought by Thomas Brumbaugh of Vanderbilt University art department from Walter R. Benjamin Autographs of Madison Avenue, and subsequently acquired by the National Collection of Fine Arts. Shortly thereafter it was transferred to the Archives of American Art. |
| updated | 02/14/2025 10:07:29 |
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| title | Collection Records, 1895-1975. |
| repository | Smithsonian Institution Archives |
| description | The John Gellatly Collection was amassed by wealthy collector John Gellatly and his first wife, Edith Rogers Gellatly, in New York City during the late nineteenth and early twentieth centuries. Mrs. Gellatly died in 1913, and in 1929 Gellatly gave the Collection to the National Gallery of Art of the Smithsonian Institution. The Collection was moved to Washington and opened to the public in 1933 at the renamed National Collection of Fine Arts, then housed in the Natural History Building. Gellatly married Charlayne Whiteley Plummer in 1930. After his death in 1931, she initiated legal proceedings to regain the Collection. Litigation continued until 1947, when the courts decided in favor of the Smithsonian Institution. The Collection itself consists of some 1640 items, ranging from paintings to jewelry to sculpture, from around the world and from the United States. Created by the National Collection of Fine Arts (U.S.). Office of the Director. These records consist of archival items purchased from Miss Mary P. Plummer in 1969, as well as correspondence and other material from NCFA files. The records were maintained by the Director until 1972, when they were deposited in the NCFA Library. This record unit consists of photographs of Mr. and Mrs. Gellatly, reprints of several journal articles concerning the Collection, several pieces of correspondence, notes describing various Collection objects, a manuscript called A Summary of the Gellatly Collection, and a letter of artist Childe Hassam to John Gellatly |
| extent | 0.1 linear meter. |
| formats | Correspondence Photographs |
| access | Use of this record unit requires prior arrangement with the Archives staff. |
| record link | n/a |
| record source | https://siarchives.si.edu/collections/siris_arc_217114 |
| finding aid | Box list in control file. |
| updated | 02/14/2025 10:07:29 |
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| title | Charles Webster and Marion Campbell Hawthorne papers, 1870-1983. |
| repository | Archives of American Art |
| description | Correspondence of Charles and Marion Hawthorne, their son Joseph and his wife Hazel Hawthorne; photographs of Hawthorne family and Cape Cod School of Art; printed material; exhibition records; diary pages; and a drawing reflect activities of influential painting instructor Charles Hawthorne, his school, the Cape Cod School of Art, and publications by his wife and son about him. The correspondence includes letters from Europe, 1898 and later letters pertaining to the Cape Cod School of Art, ca. 1910-1930. Among the photographs are two of Hawthorne instructing an art class, one of artists' model Joy Stillman, 1927, one of Hawthorne's home, which he used as a studio, one of his student Julie Morrow de Forest, and one of a bust of Hawthorne by Albin Polasek. Also found are research files on Charles by Joseph, Hawthorne, ca. 1961, and printed material from Provincetown Art Association and American Academy of Art. 114 photographs, 1870's-1930, of Hawthorne, his family, friends (including William Paxton and Abbott H. Thayer), art classes, models, his studio, home and views of Provincetown. In addition there are an etching by Marion C. Hawthorne; a memorial catalog; a photographic self-portrait, and a printed reproduction. 35 photographs, including Charles and Marion Hawthorne, their residence, classes taught by Charles Hawthorne, Provincetown, Mass.; and a study for a painting by Joy Stillman, a student of Charles Hawthorne. Also included are 4 printed announcements for classes. Pages from Marion C. Hawthorne's diary, 1911 and 1928-1929; letters from Marion to her parents and correspondence between Charles and Marion, and with Joseph, undated and ca. 1900-1932; letters from the Macbeth Gallery, ca. 1909-1923; a letter from John Gellatly, 1907; a copy of a letter from Abbott H. Thayer, 1916; and letters from others. Some of the letters are annotated by Joseph Hawthorne. Biographical material on Charles and Marion Hawthorne; correspondence, 1902-1978; financial records, 1901-1902 and 1928-1930; photographs of the Hawthorne family and the Cape Cod School of Art, ca. 1899-1930s, newspaper clippings, ca. 1918-1984; writings on Charles by Marion and Joseph; a drawing of Charles, 1907; price lists for jewelry, undated; a notebook kept by Harry N. Campbell, director of the Cape Cod School of Art, regarding art supplies for the school; biographical studies about Charles by Joseph, ca. 1980's; lists of names and addresses by Marion; and exhibition catalogs and Cape Cod School catalogs, 1913 and 1926. Photographs and slides of Hawthorne's work, including photos from an album attributed to Peter A. Juley. Among the photos is one of Charles taken by Carolyn Geiger, ca. 1928 (a similar copy is filmed reel D38, fr. 306-307); and a chronological list of Hawthorne's correspondence in an unknown hand; and miscellaneous correspondence. Bio/History: Painters; Provincetown, Mass.; Marion, b. 1870, d. 1945; Charles, b. 1872, d. 1930. |
| extent | 2.2 linear ft. (partially microfilmed on 6 reels) |
| formats | Correspondence Photographs Diaries Microfilm Printed Materials |
| access | Microfilmed portion must be consulted on microfilm. Use of unmicrofilmed portion requires an appointment |
| record link | n/a |
| record source | https://www.aaa.si.edu/collections/charles-webster-and-marion-campbell-hawthorne-papers-9007 |
| acquisition information | Material on reels D38, 2788 and 2884-85 was lent for microfilming in 1961 and 1982 by Joseph Hawthorne, son of Marion and Charles Hawthorne. Joseph later donated the previously microfilmed material in 1993, except for majority of frames 1-51 and all of frames 975-1923 on reel D38 which he retained. The material on reel 1435 was lent for microfilming in 1978 by the Provincetown Art Association and Museum, which had received it from Joseph Hawthorne. Hazel Hawthorne, Joseph's widow, donated additional material, reel 5113 and unfilmed, in 1995. Location of Original: Reel D38 (fr. 1-51): Originals returned to Joseph Hawthorne after microfilming. Reel 1435: Originals returned to The Provincetown Art Association and Museum after microfilming. |
| updated | 02/14/2025 10:07:51 |
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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 | 02/14/2025 10:07:51 |
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| title | Abbott Handerson Thayer and Thayer family papers, 1851-1999, bulk 1881-1950. |
| repository | Archives of American Art |
| description | The papers of painter and naturalist, Abbott Handerson Thayer, and the Thayer family date from 1851 to 1999, with the bulk of the material dating from 1881 to 1950, and measure 4.9 linear feet. Thayer's painting career, interest in concealing coloration in nature, and relationships with artists, patrons, family, and friends are documented through correspondence, writings, scattered legal and financial records, printed materials, and a scrapbook. Photographs are of Thayer, his family, studio, and friends, including artists. The collection also contains family papers created by his second wife, Emma Beach Thayer, his son Gerald, his daughters Mary and Gladys, and Gladys' husband David Reasoner, who managed Thayer's estate after his death. Scattered Biographical Material includes a brief autobiographical statement and chronology by Abbott Thayer, lists of artworks by Abbott Thayer and Gladys Thayer Reasoner, and biographical information about Thayer's granddaughter, Jean Reasoner Plunket. Two linear feet of family correspondence includes Abott Thayer's correspondence with patrons Charles L. Freer and John Gellatly; with many artists, several of whom were close friends, including Samuel Colman, Thomas Millie Dow, Daniel Chester French, Richard Meryman, Everton Sainsbury, Louis Agassiz Fuertes, and E. M. Taber; and former students, such as Ben Foster and Barry Faulkner; and with other friends, many of them prominent members of society, such as Samuel Clemens, Royal Cortissoz, Edward Waldo Emerson, and Stanford White. Also found is Thayer's correspondence with scientists and naturalists discussing his theories on protective coloration in nature. Correspondence of his second wife Emma Beach Thayer, his first wife, Kate Bloede Thayer, his daughter, Gladys Thayer Reasoner, her husband and executor of Thayer's estate, David Reasoner, and other family members are also included in the papers. Writings and notes by Thayer record his thoughts on concealing coloration, nature, restoration of artwork, and other topics. Writings by others include those by Emma Beach Thayer, daughters Mary and Gladys, and Thayer scholars. The collection also contains correspondence of David Reasoner and other family members, as well as financial and legal documents regarding the estate of Abbott Handerson Thayer and Emma Beach Thayer. Additional financial and legal material includes ledgers, accounts statements, bills, a patent granted to Thayer and Gerome Brush, legal agreements, property deeds, and a map of Thayer's property. Printed material include books, including one written by Theodore Roosevelt in response to Thayer's book on concealing coloration. Also found are newspaper and magazine clippings, and exhibition announcements and catalogs. Photographs are of Abbott Thayer, his wife Emma; his studio and home in Dublin, New Hampshire; friends, including Rockwell Kent and Ralph Waldo Emerson; and of unidentified people. Artwork includes a few drawings by Thayer, drawings and paintings by his children, and sketchbooks belonging to David Reasoner and Jean Reasoner Plunket. The collection also includes one large scrapbook kept by David Reasoner documenting Abbott Thayer's artwork. Biographical Information Abbott Handerson Thayer (1849-1921) was born in Boston to Dr. William Henry Thayer and Ellen Handerson Thayer. After his birth his family moved to Woodstock, Vermont, and in 1855 settled in Keene, New Hampshire. As a child Thayer developed a love of nature that was encouraged by his close family, which included three sisters, Ellen, Margaret, and Susan. At the age of fifteen he was sent to the Chauncy Hall School in Boston, and while there he met Henry D. Morse, an amateur animal painter. Under Morse's instruction Abbott developed his skill in painting birds and other wildlife and began painting animal portraits on commission. In 1867 he moved to Brooklyn, New York and attended the Brooklyn Academy of Design where he studied under J. B. Whittaker for two years. In 1868 he began showing his work at the National Academy of Design and enrolled there in 1870, studying under Lemuel Wilmarth. He met many emerging artists during this period, including his future first wife, Kate Bloede and his close friend, Daniel Chester French. Thayer became part of progressive art circles, showing his work at the newly formed Society of American Artists, while continuing to develop his skill as an animal and landscape painter. Thayer and Kate Bloede were married in 1875. They moved to Paris and he studied at the École des Beaux-Arts, first under Henri Lehmann, and then with Jean-Léon Gérome. While in Europe he befriended fellow artists Everton Sainsbury, Thomas Millie Dow, George de Forest Brush, and Dwight Tryon. His daughter Mary was born in 1876 and his son William Henry in 1878. The family returned to America in 1879 and settled in his parent's home in Brooklyn, where he changed his focus to portraits. After the tragic deaths of William Henry in 1880 and of their second son, Ralph Waldo, in 1881, the family led a migratory existence living in various parts of New England. In 1881 while living in Nantucket they met Emmeline (Emma) Beach (1850-1924) who would become close friends with Abbott and Kate and would be known as "Addie" to the family. In 1883 their son Gerald was born and in 1886 their daughter Gladys was born. In 1887 Thayer settled his family in Keene, New Hampshire, and began teaching a small group of students. Around this time his wife began suffering from severe depression and went to a sanatorium in 1888. She died in 1891 and that fall Thayer married Emma Beach who had helped to care for him and his children during his wife's illness. Despite family tragedies, Thayer became a leader in the New York art world during the 1880s and 1890s. He was a successful portraitist and painted allegorical figures of angels, women, and children, which were popular among collectors of this period, including his patrons Charles Lang Freer and John Gellatly. He often used his children as models, especially his eldest daughter, Mary. In the late 1880s one of Thayer's students, Mary Amory Greene, built a house and studio for the Thayer family on her land in Dublin, New Hampshire, and in 1901 the family settled there permanently. Many of Thayer's artist friends lived nearby, such as Richard Meryman and George de Forest Brush, and the Thayer family frequently entertained prominent visitors such as Edward Waldo Emerson and Samuel Clemens. Abbott Thayer taught painting to his children, and Gerald and Gladys both became artists and art educators. Gladys married David Reasoner, a student of Abbott Thayer who later became his assistant. Other students of Thayer included Rockwell Kent, Ben Foster, Barry Faulkner, and Louis Agassiz Fuertes. Greatly influenced by transcendentalism and the spirituality of nature, Thayer again began to paint landscapes, especially of nearby Mount Monadnock. He was very interested in the study of protective coloration in the wild, and was an advocate for nature conservation and bird sanctuaries. He published the book Concealing Coloration in the Animal Kingdom in 1909 with his son Gerald, but encountered much resistance to his theories. Thayer also wrote about how his camouflage theories could be applied to military warships and uniforms. These theories failed to gain widespread government interest and after suffering from nervous exhaustion, he spent the rest of his life painting landscapes at his home in Dublin, until his death in 1921. Associated materials: Anne Whiting, a niece of Abbott Handerson Thayer, loaned a diary kept by Thayer, a "Family Record" written by William Henry Thayer, correspondence, printed material, and photographs for microfilming in 1971. These items were returned to Whiting after microfilming and are available to researchers on reel 48. In 1985 Jean Reasoner Plunket, Thayer's granddaughter, loaned original artwork by Thayer which was returned to her after microfilming on reel 3417. These materials are not included in the container listing of the finding aid. The Archives of American Art holds several collections related to Abbott Handerson Thayer. These include research material on Abbott Handerson Thayer and other artists, 1895-1990, donated by Thomas B. Brumbaugh; the Abbott Handerson Thayer letter and drawings to Caroline Peddle Ball, circa 1890-1893; "The Drawings of Abbott Thayer", by Elizabeth Robins Pennell, circa 1921; and the Nelson and Henry C. White research material, 1898-1978, which includes many letters, photographs, and other material originally belonging to the Thayer family./ Finding aid available. The Abbott Handerson Thayer and Thayer Family papers were donated in 1999 by Abbott Thayer's great-grandson, John Plunket, who received the papers from his mother Jean Reasoner Plunket. In 2005 Bruce Gimelson donated additional material purchased from relatives of Emma Beach Thayer. Preferred citation: Abbott Handerson Thayer and Thayer Family papers, 1851-1999 (bulk 1881-1950). Archives of American Art, Smithsonian Institution. |
| extent | 4.9 linear ft. |
| access | http://www.aaa.si.edu/collections/abbott-handerson-thayer-and-thayer-family-papers-7440 |
| record link | http://www.aaa.si.edu/collections/abbott-handerson-thayer-and-thayer-family-papers-7440 |
| record source | http://www.aaa.si.edu/collections/abbott-handerson-thayer-and-thayer-family-papers-7440/more |
| finding aid | Available on the repository's, Archives of American Art, web site. |
| acquisition information | The Abbott Handerson Thayer and Thayer Family papers were donated in 1999 by Abbott Thayer's great-grandson, John Plunket, who received the papers from his mother Jean Reasoner Plunket. In 2005 Bruce Gimelson donated additional material purchased from relatives of Emma Beach Thayer. |
| updated | 02/14/2025 10:07:51 |
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| title | Charles Lang Freer Papers 1876-1931 |
| repository | Freer Gallery of Art and Arthur M. Sackler Gallery Archives |
| description | The personal papers of Charles Lang Freer, the industrialist and art collector who founded the Freer Gallery of Art. The papers include correspondence, diaries, art inventories, scrapbooks of clippings on James McNeil Whistler and other press clippings, financial material, architectural drawings, and photographs. Correspondence, ca. 1860-1921, includes Freer's correspondence, 1876-1920, with artists, dealers, collectors, museums, and public figures; letterpress books contain copies of Freer's outgoing letters, 1892-1910; correspondence collected by Freer of James McNeill Whistler, and his wife Beatrix, 186?-1909, with Lady Colin Campbell, Thomas R. Way, Alexander Reid, Whistler' mother, Mrs. George W. Whistler, and others; correspondence of Whistler collector Richard A. Canfield, 1904-1913, regarding works in Canfield's collection; and correspondence of Freer's assistant, Katharine Nash Rhoades, 1920-1921, soliciting Freer letters and regarding the settlement of his estate. Also included are twenty-nine pocket diaries, 1889-1890, 1892-1898, 1900-1919, recording daily activities, people and places visited, observations, and comments; a diary kept by Freer's caretaker, Joseph Stephens Warring, recording daily activities at Freer's Detroit home, 1907-1910. Inventories, n.d. and 1901-1921, of American, European, and Asian art in Freer's collection, often including provenance information; vouchers, 1884-1919, documenting his purchases; five volumes of scrapbooks of clippings on James McNeill Whistler, 1888-1931, labeled "Various," "Peacock Room," "Death, etc.," "Paris, etc.," and "Boston...London" ; three volumes of newsclippings, 1900-1930, concerning Freer and the opening of the Freer Gallery of Art. Correspondence regarding Freer's gift and bequest to the Smithsonian Institution, 1902-1916; and photographs, ca. 1880-1930, of Freer, including portraits by Alvin Langdon Coburn and Edward Steichen, Freer with others, Freer in Cairo, China and Japan, Freer's death mask, and his memorial service, Kyoto, 1930; photographs of artists and others, including Thomas Dewing, Ernest Fenellosa, Katharine Rhoades taken by Alfred Stieglitz, Rosalind B. Philip, Augustus Saint-Gaudens, Abbott H. Thayer, Dwight Tryon, and Whistler; and photographs relating to Whistler, including art works depicting him, grave and memorial monuments, works of art, the Peacock Room, and Whistler's memorial exhibition at the Copley Society. |
| extent | 145 linear feet |
| formats | Personal Papers Correspondence Photographs Diaries Financial Papers |
| access | Access is by appointment only, Monday through Thursday 10:00 a.m. to 5:00 p.m. Please contact the Archives to make an appointment. |
| record link | http://www.asia.si.edu/archives/finding_aids/freer.html |
| record source | http://www.siris.si.edu/ |
| finding aid | Online and in repository. |
| acquisition information | Gift of the estate of Charles Lang Freer |
| updated | 02/14/2025 10:07:51 |
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