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Ingersoll, R. Sturgis. Correspondence with Carl Zigrosser, 1942-1971, n.d.

Title: Correspondence with Carl Zigrosser, 1942-1971, n.d.

R. Sturgis Ingersoll was a Trustee and President of the Board of Trustees at the Philadelphia Museum of Art. His correspondence with Carl Zigrosser revolves around the business of the Philadelphia Museum of Art and their shared interest in art. Topics include proposed purchases and gifts, Ingersoll's own collection and gifts to the Museum, Zigrosser's purchasing trips to Europe, a copy of Zigrosser's report on the quality of the Arensberg Collection, birthday greetings, the hiring of Kneeland McNulty, a list of Zigrosser's preferred commercial galleries in Paris, notes abo ut John Flannagan, vacation letters from abroad, Henri Marceau's hospitalization, Zigrosser's retirement, the death of Ingersoll's wife, letters abou Zigrosser's books and catalogs. Interleaved are carbons and drafts of many of Zigrosser's letter to Ingersoll. Included is a photograph of Ingersoll.

ArchivalResource: 191 items (235 leaves and 1 photograph).

http://www.worldcat.org/oclc/155901615 View

Coolidge, John, 1913-1995. Papers of John Coolidge and Agnes Mongan, 1909-2006.

Title: Papers of John Coolidge and Agnes Mongan, 1909-2006.

These papers of Fogg Art Museum directors John Coolidge and Agnes Mongan document their administration of the museum and related professional activities. Most of Coolidge's papers were created during his administration, from 1948 to 1968; most of Mongan's papers are from her tenure as acting director and then director (1968 to 1971). The papers consist primarily of correspondence, including Coolidge's correspondence with art dealers, and also include photographs, memoranda, reports, meeting minutes, blueprints, printed material, letters of recommendation, page proofs, financial documents, sketches and grant proposals.

ArchivalResource: 152 file boxes + oversize materials

http://www.worldcat.org/oclc/434571462 View

Papers relating to the 1913 Armory Show 50th Anniversary Exhibition

Title: Papers relating to the 1913 Armory Show 50th Anniversary Exhibition

Correspondence, notes, publications, loan forms, shipping records, and photographs relating to the Museum's exhibition re-creating the 1913 Armory Show. The exhibition was curated by Joseph Trovato, and sponsored by the Henry Street Settlement, N.Y. Included are photographs of the members of the Association of American Painters and Sculptors, the organization which sponsored the original exhibition.

ArchivalResource: 1.4 Linear feet

https://n2t.net/ark:/65665/mw97fe19153-4d18-477a-b098-a1697e9fcf35 View

Philadelphia Museum of Art. Conservation and technical research collection, 1932-1969, n.d.

Title: Conservation and technical research collection, 1932-1969, n.d.

The collection documents the establishment and early operations of the Philadelphia Museum of Art's conservation laboratory and the use of photographic technology in conservation and curatorial work. While the majority of the material pertains to the activities of Henri Marceau, Curator of Painting and Sculpture, and of the John G. Johnson Collection, and of David Rosen, who served as an adviser to the Museum's conservation and technical research projects, the collection also includes some records of Theodor Siegl, who was hired as the Museum's first full-time conservator in 1955. In addition to correspondence, technical brochures, and educational materials, the collection includes extensive files of prints, negatives, and lantern slides documenting works of art in the Philadelphia Museum of Art and John G. Johnson collections, as well as works sent to the Museum for restoration and/or exhibition purposes.

ArchivalResource: 39 linear feet.

http://www.worldcat.org/oclc/84361940 View

John G. Johnson Collection (Philadelphia, Pa.). Johnson Collection curatorial records, 1917-1973, n.d.

Title: Johnson Collection curatorial records, 1917-1973, n.d.

The John G. Johnson Collection is comprised of more than 1,200 European paintings and sculpture amassed by corporate lawyer John Graver Johnson between the early 1880s and his death in 1917. The collection is owned by the City of Philadelphia, but administered by and housed at the Philadelphia Museum of Art. The Johnson Collection Curatorial Records document the administrative and curatorial activities of Henri Marceau and Barbara Sweeny, curators of the collection from 1926 to 1972, and includes correspondence, attribution research, writings, and photographs. The bulk of the material was generated after the move of the Johnson Collection from its original location at 510 South Broad Street to the Philadelphia Museum of Art in 1933.

ArchivalResource: 14 linear feet.

http://www.worldcat.org/oclc/78446305 View

Oral history interview with Henri Marceau

Title: Oral history interview with Henri Marceau

An interview of Henri Marceau conducted 1964 September 11, by Richard Doud, for the Archives of American Art.

OralHistoryResource: Sound recordings: 1 sound tape reel (50 min.) ; 7 in.Transcript: 18 p.

https://n2t.net/ark:/65665/mw96e10291f-edd4-4061-973b-f76c613848e3 View

Defenbacher, D. S. (Daniel S.), 1906-1986. Papers, 1935-1951 (bulk 1940-1950).

Title: Papers, 1935-1951 (bulk 1940-1950).

Correspondence, memoranda, board minutes, policy statements, telegrams, and printed materials, chiefly relating to Defenbacher's activities as director of the Walker Art Center and his creation of an exhibits program in contemporary fine and applied arts with an emphasis on modern architecture and design.

ArchivalResource: 13.5 linear ft.

http://www.worldcat.org/oclc/70958324 View

Flannagan, John Bernard, 1895?-1942. Correspondence with Carl Zigrosser, 1926-1942, n.d.

Title: Correspondence with Carl Zigrosser, 1926-1942, n.d.

The earliest correspondence concerns Flannagan's work on small pieces, sales, and exhibitions. Attentive and informative letters from 1928 written by Florence Rollins discuss Flannagan's problems in Woodstock, his inability to handle money or "behave decently," and his drinking. Miss Rollins had befriended Flannagan and let him live and work at her country place; her growing disillusionment is evident in her blunt letters. There are also reconciling letters from Flannagan to Rollins in the file that describe his life and his work. An exchange of letters from this time between Zigrosser and Juliana Force is the beginning of an informal alliance between the two to help arrange for sales of Flannagan's work. Flannagan's own letters often give simple, philosophical statements about the motivation of his work, his choice of subject and material. There is also misleading biographical information, references to sales, and requests for funds. Mid 1929 letters make reference to Jo Davidson and Grace Briggs, John Flannagan's future wife. Some letters are addressed to Laura Canadé, an employee of Weyhe Gallery and Carl Zigrosser's second wife. A March, 1930 contract sets up a purchase system at Weyhe, providing quarterly payments to Flannagan in return for the delivery of works of art. In June of 1930, Flannagan and his wife went to Ireland for a year's concerted work. Monthly letters give details about stone the available, setting up a household, his optimism about work and staying sober, financial arrangements, Ireland and the Irish, the complications of shipping his work, and the birth of his daughter. Flannagan's moods are quite changeable: each cheerful, optimistic letter full of plans is matched by one of nervous gloom full of plans, and another of miserable dejection. In April, 1931, the small family relocated to Paris, and in May of that year Grace and the baby left a horribly drunken Flannagan and returned to the United States. There is a gap in the correspondence until the spring of 1932, which brings a flurry of legal notices attempting to put a lien on Flannagan's work at the Weyhe Gallery. The next few letters from Flannagan are from 1934 and describe his work in metal casting and some carving projects. Early 1935 brings letters from Bloomingdale, a psychiatric hospital in New York City, where Flannagan is undergoing treatment for alcohol addiction and mental problems. The letters are desperate and unguarded. Flannagan worries about never being able to sculpt again, the removal of his teeth, and expresses his bitterness towards his wife and pleads his case to Zigrosser. By October of 1935, Flannagan is out of the hospital and living in Boston with Margharita La Centra, sculpting and making sales. April of 1936 brings a long letter about Flannagan's plan to purchase an old stone farmhouse near Woodstock, N.Y. with barns for sculpting in -- the purchase of which would require financial help from Erhard Weyhe. Zigrosser tried unsuccessfully to solicite help from other sources, including Chauncey Stillman, a well-to-do collector. Stillman's response is negative, but compassionate about helping Flannagan solve his personal problems. Flannagan's work was selling well at the time, but his underlying weaknesses remained unresolved. The letters from this time are excitable, full of plans, loaded down with financial problems and excuses for slow work. Letters from 1937 refer to Flannagan's hospitalization for a broken leg after he was struck by a car, and his recuperating in Ridgefield, Conn. at the home of Stephen Luce Brown. His work is slowed by his injury, and by the first symptoms of the recurring brain tumors that would complicate his last years. Other topics include a visit by Padraic Colum, Flannagan's feelings of lost time, his work on Jonah and the Whale (including a sketch of the sculpture), some comments on chemical coatings for his outdoor work, and the types and colors of stones he prefers. At this time, Flannagan's commission from the Fairmount Park Art Association of Philadelphia for his figure, the Miner, was coming to a head. A December, 1937 letter from Henri Marceau to Zigrosser reports of a meeting with the artist about the project at which Flannagan was not sober. Hospitalizations and recoveries create gaps in the letters from Flannagan. In 1939, his reduced stamina results in Flannagan working with metal casting instead of stone, and letters report his exhaustion and struggle with sobriety, as well as the infrequent sales of his work. 1940 brings fatalistic letters in which Flannagan writes about having a retrospective and comments on his poverty and how it effects his work. In July of that year, a postcard reports the sale at auction of all tools in Flannagan's "erstwhile studio." A letter to Zigrosser from Domenico Mortellito suggests making reproductions of Flannagan's work to get money for the artist. Letters for 1941 include a typescript of Flannagan's letters to Curt Valentin of Buchholz Gallery arranging sales and an exhibition. Letters to Zigrosser mention setting up a new studio, projects and work completed, and thoughts about suicide. The 1941 correspondence with Zigrosser is slimmer, but still quite personal and bearing a tone of resignation. Flannagan killed himself in his New York studio on January 6, 1942. Several folders of material follow the correspondence. Included are letters from various people involved with Flannagan, often resolving old conflicts. Not long after Flannagan's death, a Newsweek article characterized the Weyhe Gallery as profiteering from Flannagan during his lifetime. Letters between Erhard Weyhe, Laura Canadé and Carl Zigrosser record their initial dismay and defense of the Gallery's treatment of Flannagan. There are letters from researchers working on Flannagan. There is a folder of business receipts, a folder of clippings from magazines and newspapers, a folder of exhibition catalogs, a folder of comments and writings by Carl Zigrosser, and a folder of lists of Flannagan's sculptures.

ArchivalResource: 192 items (455 leaves).

http://www.worldcat.org/oclc/155901034 View

Papers of John Coolidge and Agnes Mongan, 1909-2006

Title: Papers of John Coolidge and Agnes Mongan, 1909-2006

These papers of Fogg Art Museum directors John Coolidge and AgnesMongan document their administration of the museum and related professional activities. Mostof Coolidge's papers were created during his administration, from 1948 to 1968; most ofMongan's papers are from her tenure as acting director and then director (1968 to 1971). Thepapers consist primarily of correspondence, including Coolidge's correspondence with artdealers, and also include photographs, memoranda, reports, meeting minutes, blueprints, printedmaterial, letters of recommendation, page proofs, financial documents, sketches and grantproposals.

ArchivalResource: 152 file boxes + oversize materials

http://id.lib.harvard.edu/ead/art00017/catalog View

Anita Weschler Papers, 1902-1989, 1924-1960

Title: Anita Weschler Papers 1902-1989 1924-1960

Papers of the American sculptor, painter, interior decorator, poet, author.Collection includes correspondence, artwork (sketches, watercolors), exhibition catalogs, photographs, writings, and memorabilia, including financial material.

ArchivalResource: 57 linear ft.

http://library.syr.edu/digital/guides/w/weschler_a.htm View