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William M. Hekking

Table of Contents

 
Collection Overview
Information for Users

Preferred Citation
Terms of Access and Use
Copyright

Administrative Information

Acquisition Information
Processing Information

Biographical Note
Scope and Content Note
Arrangement
Container List
Search Terms

Contributors
Subject Terms

Related Resources


 
Collection Overview
 

 
Title:
William M. Hekking Records, 1925-1931 

Collection number:
AK2.4 

Creator:
Hekking, William Mathews, 1885- 

Extent:
15 boxes (7 linear feet) 

Language of Material:
Collection material in English. 

Repository:
Albright-Knox Art Gallery. G. Robert Strauss, Jr. Memorial Library 

Abstract:
Records and correspondence of William M. Hekking, director of the Albright Art Gallery from March 1925, through October 1, 1931.


 
Information for Users
 

 
Preferred Citation
[Description and dates], Box/folder number, AK2.4, William M. Hekking Records, 1925-1931, G. Robert Strauss, Jr. Memorial Library, Albright-Knox Art Gallery. 

Terms of Access and Use
The William M. Hekking Records, 1925-1931 are open for research. 

Copyright
Copyright is held by the Albright-Knox Art Gallery. Additional copyright may be held by individual artists/authors, their heirs, or assigns. Researchers must obtain the written permission of the holder(s) of copyright and the G. Robert Strauss, Jr. Memorial Library before publishing quotations from materials in the collection.


 
Administrative Information
 

 
Acquisition Information
Transferred from the Director's Office.

Processing Information
Collection processed by: Gallery Archives staff

Finding aid encoded by: Yoko Inagi, November 2007. Encoding revised by Amy Vilz, August 2008.


 
Biographical Note

 
William Mathews Hekking (1885-1970) was born in Wisconsin and later moved with his family to Syracuse, New York. In 1908 he graduated from the University of Syracuse with a Bachelor of Painting degree. He studied in Paris before returning to New York City to work as a commercial artist. In 1911, he was appointed instructor of painting at Syracuse University. Subsequently, his career in art education led to other universities in the Midwest. In about 1922 he became director of the Columbus, Ohio Gallery of Fine Arts and Art School. He was appointed director of the Albright Art Gallery in March, 1925. After his resignation in 1931 he continued to live and work in Buffalo, as art critic for the Buffalo Evening News. In 1932 he became involved with the Buffalo Art Institute, a Depression era project for artists. In 1937 he was appointed director of the Los Angeles Museum of Science, History and Art. He retired in about 1940 to devote himself full-time to painting. Hekking is best remembered as a marine painter in the traditional style. He maintained a summer home on Monhegan Island, Maine, which is often mentioned in his correspondence. In the winter of 1930, while still director of the Albright, Hekking applied for and won the temporary post of liaison officer on board a U.S. Coast Guard International Ice Patrol vessel, so that he could sketch and paint the North Atlantic ocean.

Hekking's personal taste in art was quite conservative. He had a great dislike for purely abstract art. Still, this prepossession had no influence on his management of the Albright Art Gallery; Hekking seems to have tried to preserve the balance between various types of exhibitions displayed and acquisitions purchased for the Gallery. From a historical viewpoint, a number of the more avant-garde exhibitions and purchases took place during the latter half of the 1920s. Most notable was the purchase of Picasso's La Toilette in 1926, exhibitions of sculpture by Bourdelle and Maillol, and in February, 1927, the International Exhibition of Modern Art organized by the Societe Anonyme. Hekking maintained a significant professional correspondence with Katherine Dreier, president of the Societe. In addition to the 1927 exhibition, Dreier lectured twice, and organized a further exhibition of modern works which came to the Gallery in 1931. Hekking's correspondence with Dreier, including transcripts of her lecture at the Gallery, from 1925 to 1991, contains illuminating passages in which Dreier describes her personal philosophy, her beliefs in the importance of abstract art, and its influence on society and reincarnation.


 
Scope and Content Note

 
Record Group 2, Series 4 consists of the office records and correspondence of William M. Hekking, art director of the Albright Gallery from March, 1925 to October 1, 1931. Arrangement of Series 4 is alphabetical within one-year time spans. Some correspondence was extensive or significant enough to merit a separate folder. In that case, material within folders was arranged chronologically. Lesser accumulations of correspondence were filed under alphabetic headings with alphabetic arrangement within folders. This reflects and maintains the original order of the records. Before processing, Volume of Series 4 was roughly 8 linear feet. After processing, volume is 7 linear feet contained in 15 Hollinger boxes. Only routine form letters, duplicate letters, and acknowledgments from other institutions for publications received on an exchange basis, were discarded. 

William Hekking's resignation, October 1, 1931, coincided with the assumption of office of his successor, Gordon Bailey Washburn. Because the majority of the directors' correspondence from the year 1931 is attributable in origin to Hekking, rather than separate that correspondence dating from after October 1, the archivist maintained the original order and included Washburn's material in this series rather than the next. This brief span of Washburn's correspondence from Oct.1 to Dec. 31, 1931, includes significant exchanges with Washburn's mentor, Prof. Paul Sachs of Harvard University, outlining Washburn's initial impressions of the state of the Albright Art Gallery from a professional viewpoint. This correspondence also assesses the collection and outlines Washburn's future plans for developing the educational resources and the collection of the Gallery. 

The majority of correspondence in Series 4 as a whole reflects the many duties of a museum director. Much of the material is correspondence with a number of dealers, mostly based in New York City, concerning loans to exhibitions and works of art offered for purchase. Another major category is correspondence with other art museum directors concerning the shipping of exhibitions and loans, and also the administrative functions common to directors. After 1928, an increasing number of private collectors seem to have written to Hekking anxiously seeking to sell their artworks. Of special interest are lecture brochures sent by bureaus. Other correspondence documents the director's and the Gallery's involvement with local art societies such as the Buffalo Society of Artists. Of significance for the history of the Gallery during this period are press releases, which seem to have been written regularly from about 1926 on. These are an important source of information about many different Gallery activities, lectures, and exhibitions. In 1931, the Gallery hired its first publicity assistant to coordinate that function. 

William Hekking was responsible for the first large scale attempt to reach the younger museum audience in the public schools. He initiated several short-lived educational programs, usually involving lectures at schools rather than school tours of the Gallery. Hekking also spoke before various societies and ladies' clubs in the Western New York region. With Col. Charles Clifton, then president of the B.F.A.A., Hekking participated in the Buffalo Educational Council, a consortium of educators, museum personnel and influential citizens led by Samuel Capen, Chancellor of the University of Buffalo. Records of the Educational Council, including minutes, notices, surveys, and correspondence are included in Record Group ii, as early education projects.

The director's correspondence with Board members, documenting purchases and executive decisions is included in Record Group 1. Principal curatorial correspondence will be found in Record Group 3. Hekking's correspondence with a variety of American artists will be found in Series 1 of Record Group 2. Additional correspondence with artists is noted where it appears in the folder listing for this series. Additional biographical information about Hekking can be found in the Library. Correspondence with his predecessor, C.B. Sage Quinton, continued sporadically until 1931. This is filed under "S". Personal and social correspondence will be found under the name of Hekking.


 
Arrangement

 
Alphabetic within one-year time spans.


 
Container List

 
1925

1.1

"A," 1925

1.2

Association of Art Museum Directors: annual meeting, 1925; includes minutes, lists of members, and verbatim transcripts of discussions on recognizing donors of gifts to museums, and on other subjects.

1.3

"B," 1925; includes correspondence with Buffalo Federation of Settlements, and with Dean Julian Park, University of Buffalo.

1.4

Baltimore Museum of Art: correspondence, 1925; includes an exchange concerning the design of museum buildings.

1.5

"C," 1925; includes correspondence documenting a lecture at the A.A.G. by Charles J. Conniok, stained-glass craftsman.

1.6

Chicago, Art Institute of, correspondence, 1925; includes arrangements for a lecture by Director R.B. Harshe: "The Place of George Inness in Nineteenth-Century Painting."

1.7

Cincinnati Art Museum: correspondence, 1925.

1.8

"D," 1925

1.9

Davenport Municipal Art Museum, 1925.

1.10

Katherine Dreier, Societe Anonyme: correspondence, telegrams, 1925-1926; includes about 20 letters from Dreier, lists of paintings, correspondence documenting organization of memorial exhibition for Dorothea Dreier, copies of Hekking's correspondence with Dreier, exhibition circuit information and printed publicity material on Dorothea Dreier, correspondence documenting artist Walter Shirlaw's art at the A.A.G. and an admission of his influence on the Dreier sisters, priced lists of paintings, correspondence concerning organization of the 1927 Societe Anonyme Exhibition of Modern Art, an exchange between Hekking and Dreier stating her opinion of Max Weber and Niles Spencer, preliminary checklist of the Modern Exhibition, and descriptions of artists represented and their work.

1.11

"E," 1925; includes correspondence documenting purchase of the central elevator.

1.12

Ehrich Galleries: correspondence, 1925; includes Art Committee purchase considerations.

1.13

"F," 1925

1.14

"G," 1925; includes a letter from George Pearse Ennis, sec., Grand Central School of Art, NYC

1.15

"H," 1925; includes correspondence with Frank Gardner Hale, concerning lecture, Feb. 7, 1925; A.T. Hibbard, artist; Clare H. Horton, concerning gift of a work by W. Metcalf.

1.16

"I," 1925

1.17

"K," 1925; includes Knoedler and Co., NYC, purchase considerations.

1.18

"L," 1925; Lockport Women's Club

1.19

"M," 1925; Frank Mather, professor of art history, Princeton, lecture at A.A.G.: “Lonesome Max," wood carver, Los Angeles, California.

1.20

Robert Macbeth, Macbeth Galleries, NYC, 1925; includes purchase consideration of Robert Henri's La Gitana.

1.21

Milch Galleries, NYC, 1925

1.22

"N," 1925; includes National Academy of Design exhibition correspondence with New Mexico Painters Group, Frank Applegate, sec., The Newsboy World, and Theodore Roosevelt Newsboy Association, and Laddie Boy sculpture campaign brochure, Mrs. Burr H. Nichols, WNY branch, American Pen Women, lecture by Hekking.

1.23

New York, Metropolitan Museum: correspondence, 1925; includes correspondence regarding loan of Bellow's Elinor, Jean, and Anna.

2.1

"O," 1925

2.2

"P," 1925; includes Peoria Art Institute correspondence detailing educational activities at the A.A.G.

2.3

Pittsburgh, Carnegie Institute: correspondence, 1925; includes correspondence concerns circuit of Lavery exhibition, A.A.G. loans to Pittsburgh, and the Stuart Manigault portraits in the permanent collection.

2.4

Reproduction Rights correspondence, 1925; includes correspondence with artists concerning copyright of works in the permanent collection mostly since deaccessioned, including Mauriee Fromkes Jacinta, Daniel Garber Sycamores, Gari Melchers The Wedding, Emil Carlson Moonlight, Edward Simmons and E.W. Redfield.

2.5

"R," 1925; includes Louis Ralston Galleries' purchase consideration of a Stuart portrait for Knox private collection.

2.6

Rochester Memorial Art Gallery, 1925; includes correspondence principally concerning exhibition circuits, Bellows Memorial Exhibition, and Mural Painters, Mestrovie Exhibition correspondence detailing A.Conger Goodyear's involvement, and correspondence with the artist's brother, regarding Goodyear's association with Anna Glenny Dunbar and his interest in Modern Art, January, 1925 to January, 1926.

2.7

"S," 1925; includes Annetta St. Gaudens, return of sculpture loan, Birger Sandzen, lithographer, request for exhibition, Cornelia B. Sage Quinton, activities at the California Palace of the Legion of Honor and her smelling salts left at the Albright in 1924, Shenk's Picture Gallery, and reproductions and postcards of permanent collection, Mrs. Charles Sprague-Smith, organization of Mestrovic exhibition.

2.8

Albert Sterner: lecture correspondence, May, 1925; " Art in the Community".

2.9

St. Louis, City Art Museum: correspondence, 1925-1928; includes correspondence with Samuel L. Sherer, director, concerning provision for Albright Art Gallery in proposed City of Buffalo Charter, various circulating exhibitions, and insurance of permanent collection.

2.10

"T," 1925; includes Buffalo Evening Times, Toronto Art Gallery's correspondence with Urquhart Wilcox concerning loans for Toronto Inaugural exhibition, and correspondence with John E.D. Trask and Frederick Truscott, electrical engineer, concerning change of lighting system in main-floor galleries.

2.11

"U," 1925; includes correspondence with University of Buffalo, concerning Hekking's Art history course at U.B.

2.12

"V," 1925; includes correspondence with Vandyck Galleries, NYC, concerning Anglada Exhibition; Vose Galleries, Boston; Douglas Volk, artist.

2.13

"W," 1925; includes correspondence with Martha Walter, artist, regarding her exhibition details of circuit, travel plans, Wildenstein and Co., NYC, and loans on approval to A.A.G. of unnamed works by Gauguin, Van Gogh, Morisot and Cougher.

2.14

Washington, DC, American Association of Museums: correspondence, 1925; includes correspondence and minutes of the A.A.M. council, St. Louis convention, May, 1925, tentative budget of A.A.M. for 1926 fiscal year, and correspondence with Chauncey Hamlin, president.

2.15

Washington, DC, American Federation of Arts, 1925; includes correspondence with Secretary Leila Mechlin concerning the National Academy of Design Centennial Exhibition, and correspondence with Secretary Leila Mechlin concerning an article written by Hekking for publication in the American Magazine of Art, April, 1925.

2.16

Washington, DC, Corcoran Gallery of Art: correspondence, 1925; includes circulation and shipping of Anders Zorn Exhibition.

2.17

Wildenstein and Co., NYC, 1925; includes purchase consideration loans of works by Gaugin, Van Gogh, Morisot, Cezanne and Courbet. [See also folder 13 above. Photographs of artworks removed and filed in Archives Photo Collection, 6.1.1, Box 1, 1925.]

2.18

"X, Y, Z," 1925; includes Howard Young Galleries, NYC, loans on approval.

 

1926

3.1

Association of Art Museum Directors: Annual Convention, 1926; includes minutes and information concerning the 11th Annual Meeting, Washington, DC

3.2

"B," 1926; includes Buffalo Arts Journal's publication of works in the permanent collection.

3.3

"C," 1926; includes correspondence with Chicago Field Museum, regarding lecture by Laurence Binyon on Chinese painting.

3.4

Chicago, Art Institute, correspondence with R.B. Hirshe, director, 1926

3.5

Christian Science Monitor, 1926

3.6

Columbus Gallery of Fine Art: correspondence, 1926

3.7

J.J. Cusack, dealer: correspondence, 1926-1929; includes a hand-colored postcard of Rome at night.

3.8

"D," 1926

3.9

Maud Dale (Mrs. Chester Dale), NYC private collector: correspondence, 1926-1930; includes significant correspondence documenting loans of Impressionist works to A.A.G., the purchase of Cezanne's Jas de Bouffon, and a discussion on the "dealer-inflated" prices of Impressionist artworks by Cassat and Bracque.

3.10

Davenport (Iowa) Municipal Art Gallery: correspondence, 1926

3.11

Detroit Institute of Arts: correspondence, 1926-1927

3.12

"E," 1926

3.13

Ehrich Galleries, NYC, 1926; includes correspondences with Walter Ehrich, concerning purchase consideration of an unnamed work by Cezanne and purchase by private Buffalo collectors.

3.14

"F," 1926; includes correspondences with Federated Council on Art Education, Ferargil Galleries, NYC, Findlay Art Galleries, St. Louis.

3.15

"G," 1926; includes correspondence with Thomas Gerrity, dealer, regarding purchase consideration of a work by Winslow Homer; Grand Central Art Galleries regarding offer of a Sargent Wertheimer portrait; Grand Central School of Art; George Pearce Ennis, secretary.

3.16

"H," 1926; includes correspondences with Sadakichi Hartemann, lecturer, Henrietta Hind regarding an offer of a work by E1 Greco, Arthur P. Howard, dealer (postcards).

3.17

William M. Hekking: personal and social correspondence, 1926

3.18

"I," 1926; includes correspondence with Italy America Society; International Studio magazine concerning article about A.A.G.

3.19

Indianapolis, John Herron Art Institute: correspondence, 1926

3.20

"J," 1926; includes correspondence with Adele Johnson, teacher at Lafayette High School, City, concerning Hekking's pick of the 10 best American artists.

3.21

"K," 1926; includes correspondence with Spencer Kellogg, Aries Press.

3.22

"L," 1926; include correspondences with John Larkin, pres. Larkin Co., Guillaume Lerolle, Paris, letters and telegrams of European buying agent for A. Conger Goodyear and the A.A.G., concerning Bourdelle sculpture exhibition, and purchases in Paris of works for Goodyear and the Albright permanent collection, a Van Gogh and other works. [For further information see: AK1.2.2 Box 2 Folder 3 - Art Committee correspondence of A. Conger Goodyear, April, 1926.]

3.23

C.T. Loo, oriental art dealer, NYC, 1926; includes A. Conger Goodyear's purchase of a Chinese stone stella for the A.A.G.

3.24

"M," 1926

3.25

Macbeth Galleries, NYC, 1926; includes correspondence with Robert Macbeth, social, and purchase decisions by the Art Committee, B.F.A.A.

4.1

Milch Galleries, NYC, January, 1926; includes correspondence with Max Bohm Exhibition.

4.2

"N," 1926; includes correspondences with National Academy of Design; National Efficiency League concerning an offer of a nude painting by Rubens; Emily B. Newman, art student and Josephine Nicholls concerning a lecture at the A.A.G. by Frank Gardner Hale, " Jewelry and the Crafts Movement," February 7, 1926.

4.3

New York, Metropolitan Museum, 1926

4.4

Arthur U. Newton, dealer: correspondence, 1926

4.5

"O," 1926

4.6

"P," 1926; includes correspondence with Dean Julian Park, University of Buffalo; Dewitt Parshall, artist.

4.7

Pittsburgh, Carnegie Institute Department of Fine Arts, 1926; includes circulation of John exhibitions (Augustus and Gwenn John).

4.8

Cornelia B. Sage Quinton, San Francisco, 1926-1929; includes documents concerning A.A.G. loans to the California Palace of the Legion of Honor, and correspondence concerning activities of A.A.G. staff members.

4.9

"R," 1926; include correspondences with La Revue Moderne, Paris; F.K.M. Rehn, New York artist and dealer, concerning his opinion of Speicher's portrait of Katherine Cornell as Candida; William A. Rogers, Board of Directors, regarding A.A.G. collecting policy; Paul Rosenberg, dealer, NYC, and correspondence and telegrams documenting purchase of Picasso's La Toilette and Morisot's Femme Couchant, January, 1926.

4.10

Rochester Memorial Art Gallery: correspondence, 1926; includes circulating exhibitions and lectures information of Bellows Memorial Exhibition.

4.11

"S," 1926; includes correspondence with G.D. Seymour regarding reproduction rights, a note signed by C. Hassam, and correspondence with Mrs. Albert Sterner, NYC

4.12

Summer School Classes in Museum Appreciation for Public School Children, June, 1926; includes a report of educational extension work at the Albright.

4.13

"T," 1926; includes correspondences with Gardner Tealle, concerning 1925 attendance, membership, income, and operating expenses at the A.A.G.; Buffalo Times, newspaper; Anna A Thompson, concerning a Bierstadt landscape of Niagara Falls exhibited at the 1875 Philadelphia Centennial Exposition; John E.D. Trask, Philadelphia Sesquicentennial International Exposition Art Dept.; Treasury Department, United States Government, regarding Col. Charles Clifton's taxes.

4.14

Toronto, Art Gallery: correspondence, 1926; includes correspondence concerning A.A.G. loan to Toronto Canadian Exhibition, lists and valuations, and hanging instruction for various works.

4.15

"U," 1926; University of Buffalo, William Hekking made a faculty member.

4.16

"V," 1926; includes correspondences with Vose Galleries, Boston, Douglas Volk, artist.

4.17

"W," 1926; includes Wildenstein Galleries, NYC and A. Conger Goodyear's purchases, including a work by Lautrec.

4.18

Washington, DC, American. Association of Museums, 1926; includes memorandums, circulars, minutes, reports, and accounts.

4.19

Washington DC, American Federation of Arts: correspondence, 1926

4.20

"X, Y, Z, " 1926; includes correspondence with Yamanaka and Co., oriental art dealers.

 

1927

5.1

"A," 1927

5.2

Art Extension Society: correspondence, 1927-1931; includes correspondence concerning reproductions of Gallery works for educational purposes and gifts of reproductions to the A.A.G. Library.

5.3

Art Societies, 1927; includes documents concerning Associated Amateur Art Clubs, Buffalo Camera Club.

5.4

Association of Art Museum Directors: Annual Convention, Providence, R.I., 1927; includes circulars and correspondence concerning relationship and roles of the A.A.M., the A.F.A., and the A.A.M.D., lists of available exhibitions, and verbatim minutes and a paper read at a regional meeting of the A.A.M.D. held at the Albright, " A Discussion of Pecking".

5.5

"B," 1927; includes correspondence with Buffalo Evening News, regarding placing of an advertisement concerning the closing of the A.A.G., July 29, 1927, in honor of Col. Charles Lindbergh.

5.6

"C," 1927

5.7

Chicago, Art Institute, correspondence, 1927-1928; includes correspondence concerning loans, traveling exhibitions, and matters of concern to museum directors.

5.8

Cincinnati Art Museum: correspondence, 1927

5.9

"D," 1927; includes correspondence with Durand-Ruel, regarding purchase consideration of various works for A.Conger Goodyear's collection; Charles Daniel, dealer, regarding purchase by A.A.G. of Niles Spencer's New England Houses.

5.10

Katherine Dreier, Societe Anonyme: correspondence, 1927-1951; includes notes, lists, telegrams, letters, correspondence concerning the 1927 International Modern Exhibition and documenting Dreier's lecture at the A.A.G. in connection with the exhibition, February 28, 1927, material on the purchase of Brancusi's Mde. Pogany from the exhibition, correspondence between Hekking and Dreier concerning the press reviews and sales from the exhibition in Buffalo, a postcard from Dreier showing a view near her Connecticut country home, correspondence during 1929 concerning the Walter Shirlaw exhibition organized by Dreier, and correspondence documenting the smaller Societe Anonyme exhibition at the Albright during 1931. For further Dreier correspondence see AK2.4, Box 1 Folder 10, 1925.

5.11

Dudensing Galleries, NYC, 1927.

5.12

"E," 1927

5.13

Ehrich Galleries, 1927

5.14

"F," 1927; includes correspondence with the Burton E. Field Co. regarding shipping of the Societe Anonyme exhibition from Toronto to Buffalo.

5.15

"G," 1927; includes correspondence with John Gellatly; Abbott Thayer; Rene Gimpel, Grand Central Art Galleries, NYC

5.16

"H," 1927; includes correspondence with Frank Gardner Hale, lecturer; Henrietta Hind, London, regarding shipment of an El Greco to A.A.G.

5.17

Jackson-Higgs Galleries, NYC, 1927

5.18

"I," 1927; includes correspondence with the International Railway Co (Buffalo street cars) regarding publicity for A.A.G. exhibitions.

5.19

Indianapolis, John Herron Art Institute: correspondence, 1927-1928

5.20

"J," 1927; includes correspondence with Edouard Jonas, dealer, Paris, offering the Mona Lisa for purchase, or contemporary copy.

5.21

"K," 1927; includes correspondence with Spencer Kellogg, Jr., Eden, NY, Azeez Khayat, dealer, regarding shipment of Michael Collection to A.A.G., Knoedler and Company, NYC

5.22

"L," 1927

5.23

Los Angeles, Otis Art Institute: correspondence, 1927

5.24

"M," 1927

5.25

Macbeth Galleries, NYC, 1927

5.26

"N," 1927

5.27

Newhouse Galleries, NYC: correspondence, March 1927-December 1927

5.28

Arthur U. Newton, dealer: correspondence, 1927

5.29

New York, Roerich Museum Corona Mundi International Art Center, 1927-1929; correspondence concerning circulating exhibition of Tibetan Banner paintings.

6.1

"P," 1927; includes correspondence with Dewitt Parshall, artist.

6.2

Pittsburgh, Carnegie Institute Department of Fine Arts: exhibition correspondence, loans, 1927

6.3

"R," 1927; includes correspondence with J. Loxton Rawbon, artwork restoration; F.K.M. Rehn, dealer, NYC; Reinhardt Galleries, NYC; Albert Rosenthal.

6.4

Reproduction Rights: permanent collection correspondence, 1927; includes copyright information on Gallery works of art. See also: AK2.4, Box 5, Folder 2: Art Extension Society correspondence.

6.5

Rochester Memorial Art Gallery: correspondence, 1927

6.6

"S," 1927; includes correspondence with Eugene Speicher, artist, concerning a work by Dickenson, An Anniversary; Alice Kent Stoddard, Bellows Memorial Exhibition, concerning loans.

6.7

"T," 1927; includes correspondence with Augustus Thibaudeau, photographer, Niagara Falls; Thurber Art Galleries, NYC, regarding offer of works by Homer; Toledo Museum of Art, concerning the exhibition of the Hamilton Collection of Renaissance Art, a poem by George Stevens, on the value of an art museum to the city, and material on the social theory of the benefits of art museums, and a letter of Amelia Earle Trant, Markeen Hotel, Buffalo, concerning loan of ambrotype photographs of her family for Hekking's cancelled Buffalo family daguerrotype exhibition.

6.8

Toronto, Art Gallery: correspondence, 1927; includes materials documenting circulating exhibitions including the Blumenschein Exh.,and the International Modern Art Exhibition of the Societe Anonyme, and a preliminary checklist of the exhibition and material on customs procedures.

6.9

"U," 1927; University of Buffalo Dean Julian Park.

6.10

"V," 1927; includes a letter from artist Douglas Volk.

6.11

"W," 1927; includes correspondence with Woodcraft League of America; Worcester Art Museum; Jessamine Ro Wheeler concerning a lecture by Hekking on the role of women in American art; E. Weyhe, NYC, dealer, concerning exhibition of small bronzes and drawings by Maillol.

6.12

Washington, DC, American Association of Museums, 1927; includes correspondence, minutes and annual report of the A.A.M., New York City meeting, September 29, 1927.

6.13

Washington, DC, American Federation of Arts: correspondence regarding circulating exhibitions, 1927

6.14

Washington, DC, Corcoran Gallery of Art: correspondence, 1927-1929; includes exhibition catalogues.

6.15

Wildenstein Galleries, NYC, 1927; includes correspondence concerning the loan of Cezanne's Jas de Bouffon to Wildenstein, Chardin paintings loan to A.A.G., and purchases by A. Conger Goodyear among other matters.

6.16

"X, Y, Z, " 1927; includes correspondence with Yamanaka and Company, NYC, oriental art dealers, concerning purchase by A.Conger Goodyear.

 

1928

7.1

Ainslee Galleries, NYC, correspondence, 1928; includes material documenting the purchase of W.M. Chase's Head of Old Man.

7.2

Archaeological Institute of America, Buffalo Chapter: correspondence, 1928-1931; includes a postcard from Mrs. A.F. Laub concerning Hekking's radio speech on his trip to Newfoundland, 1929.

7.3

Association of Art Museum Directors, Thirteenth Annual Meeting, Washington, DC, May 14-15, 1928; verbatum minutes.

7.4

"B," 1928

7.5

"C," 1928

7.6

Cleveland Museum of Art, 1928-1930; includes correspondence with Harold Parsons, agent for the Cleveland Museum, giving prices paid for classical art by the Metropolitan Museum, New York, and the Boston Museum of Fine Arts, and referring to the declining export of art from Greece and Italy; Cleveland staff members concerning circulating exhibitions.

7.7

Columbus Gallery of Fine Arts: correspondence, 1928

7.8

"D," 1928; includes correspondence with Downtown Galleries, NYC, regarding print exhibition; Dudensing Galleries regarding modern American artworks; Durand-Ruel Galleries regarding Polish artist Zak, and the loan of approval, of Mary Cassat's Woman with Two Children.

7.9

Detroit Institute of Arts, 1928-1930

7.10

Devonshire Lace Shop, NYC, 1928

7.11

Dieterle Collection: Exhibition of Spanish silk textiles, 1928-1929

7.12

"E," 1928; includes correspondence with the Erie County Farm and Home Bureau Association.

7.13

"F," 1928

7.14

Ferargil Galleries, NYC, 1928; includes correspondence concerning the exchange of a painting by J.Alden Weir.

7.15

Findlay Galleries, Kansas City, Mo. 1928

7.16

"G," 1928

7.17

"H," 1928

7.18

William M. Hekking: professional correspondence, 1928; includes material on educational activities, Hekking's ideas on modern and academic art, guards and guns, and the organizing of exhibitions.

7.19

"I," 1928

7.20

"J," 1928

7.21

"K," 1928; includes correspondence with Spencer Kellogg, Jr..

7.22

"L," 1928; includes 2 letters from the artist, Hayley Lever.

7.23

Robert Fulton Logan, artist, 1928; includes correspondence concerning his exhibition of etchings, February to April, 1928.

7.24

"M," 1928

7.25

Macbeth Galleries, NYC, correspondence, 1928; includes a long letter from Hekking to R.C. Mclntyre concerning the establishment of a collection of American Art, Hekking's choice of artists for such a collection, and other correspondence with Robert Macbeth.

7.26

Milch Galleries, 1928

7.27

"N," 1928; includes correspondence with National Broadcasting Company; National Small Sculpture Committee; New York Times, Miss Gene Hays.

7.28

Arthur U. Newton, dealer, 1928; includes correspondence concerning works by Gilbert Stuart.

7.29

New York, Metropolitan Museum of Art, 1928

8.1

"O," 1928

8.2

"P," 1928; includes correspondents with Palos Verdes Art Jury, "California Style" architectural definition; Walter Pach, concerning Hekking's exhibition idea, five best paintings chosen by the five best experts; Stephan S. Pichetto, art restoration for the A.A.G.

8.3

Press Releases and Publicity, 1928; includes press releases on Gallery activities and exhibitions sent to local and national papers, and copies of Hekking's reviews of art books published in local papers.

8.4

"R," 1928

8.5

Rochester Memorial Art Gallery, 1928

8.6

"S," 1928; includes a letter from artist Will Larymore Smedleyo.

8.7

Cornelia Bentley Sage Quinton, San Francisco, 1928

8.8

"T," 1928; includes correspondence with Toledo Museum of Art; Giovanni B. Troccoli, portrait painter, concerning offer of his portrait of C.B. Sage Quinton. See photo collection, 1928.

8.9

Toronto, Art Gallery: correspondence, 1928; includes correspondence concerning Canadian National Exhibition and A.A.G. lecture by Walter Pach, art scholar.

8.10

"U," 1928

8.11

"V," 1928; includes correspondence and news clippings from David Varon, lecturer.

8.12

"W," 1928; includes correspondence with F.B. Wright, copyright attorney for the Gallery; Wildenstein and Company, loans, A.Conger Goodyear; Forbes Watson, art scholar; Woodcraft League of Buffalo.

8.13

Washington, DC, American Association of Museums, 1928; includes list of annual attendance statistics at the Gallery from 1922 to 1927.

8.14

Washington, DC, American Federation of Arts, 1928; correspondence includes lists of all exhibitions held at the Gallery during the period June, 1927 to June, 1928, and related attendance statistics.

8.15

Washington, DC, Freer Gallery of Art, 1928-1929; includes correspondence with John Lodge, curator, mostly concerning oriental art purchase considerations by the A.A.G. Art Committee.

8.16

"X, Y, Z, " 1928; includes purchase correspondence with Yamanaka and Company, oriental art dealers, regarding T'ang dynasty wooden figure.

 

1929

9.1

"A," 1929; includes correspondents with Art Digest, editor Peyton Boswell, and letter from Hekking concerning his "Five by Five" exhibition plans, and conflict between modernists and conservatives in art.

9.2

Art Societies, 1929-1930; includes American Artists Professional League, The Artists' Club, Buffalo Camera Club

9.3

Art Tariff Act: correspondence, 1929; includes correspondence documenting the opposition to a national tax on art, and telegrams and letters from other museum directors and the Professional Artists' League.

9.4

Association of Art Museum Directors: Fourteenth Annual Meeting, Detroit, May 1929; includes minutes and correspondence condemning the art tariff.

9.5

"B," 1929; Rollo Walter Brown, art lecturer, brochure.

9.6

Baltimore Museum of Art: correspondence, 1929

9.7

George Grey Barnard, artist, collector, dealer, NYC, 1929; includes documents regarding Medieval art and architectural ornamentation offered for purchase consideration. Barnard was the collector behind the Metropolitan Museum's Cloisters.

9.8

"C," 1929

9.9

Chicago, Art Institute, correspondence, 1929-1930

9.10

Cincinnati Art Museum: loan correspondence, 1929; includes Loan of Eugene Speicher's Katherine Cornell as Candida.

9.11

"D," 1929; includes correspondence with Emma L. Davies regarding her father's works exhibited at the Pan-American Exposition, 1901 (Arthur B. Davies); Demotte Galleries, NYC; Dudensing Galleries, NYC; Durlacher Brothers, NYC; Duveen Brothers, NYC

9.12

Dayton Art Institute: correspondence, 1929-1930; includes correspondence between Hekking and Julia S. Carnell, benefactor of the D.A.I., and Hekking's appraisal of the Carl W. Hamilton collection.

9.13

"E," 1929

9.14

Ehrich Galleries, NYC: correspondence, 1929-1930

9.15

"F," 1929; includes correspondence with U.S. Senator Albert T. Faucher concernlng a portrait; W.C. Findlay, dealer, Kansas City, Mo.

9.16

Ferargil, NYC, works offered for purchase, 1929

9.17

"G," 1929

9.18

"H," 1929

9.19

"I," 1929

9.20

"J," 1929

9.21

"K," 1929; includes correspondence with Spencer Kellogg, Jr., regarding his gift of a painting by E, Zak.

9.22

"L," 1929; includes a woodcut end correspondence with J.J. Lankes, Hilton Village, Va., concerning efforts to get collectors to buy more American art rather than European.

9.23

"M," 1929

10.1

"N," 1929; includes correspondence with National Small Sculpture Committee, including a manual on soap carving; Annual exhibition sponsored by Procter and Gamble; National Sculpture Society, regarding an exhibition at the California Palace of the Legion of Honor, San Francisco; Newcomb and Macklin Company regarding frames for the collection; Newhouse Galleries, NYC; New York Times, publishing of a reproduction of A. John's Dr. Stressemann.

10.2

Arthur U. Newton, dealer, NYC: correspondence with Hekking, 1929; includes correspondence concerning paintings offered on approval, and an engraving by H. Crowe of Henry VII, from an original painting "in the possession of Lady Bedingfield". Nichols and Son, publishers, October, 1813.

10.3

New York, The Metropolitan Museum of Art, correspondence, 1929

10.4

"O," 1929

10.5

"P," 1929; includes correspondence with Philadelphia School of Design concerning the tariff on imported art; Steven Pichetto, art restorer for the Gallery, NYC

10.6

Publicity and Press Releases written by Wm. Hekking, chronological order, 1929; includes forewords for exhibition catalogues and publicity on A.A.G. activities.

10.7

"R," 1929; includes correspondence with Rochester Memorial Museum giving Hekking's opinion of the function of museums in society in general, and their contribution to the public good.

10.8

"S," 1929; includes a letter from Eugene Speicher about his exhibition an the Rehn Gallery, NYC January. 1929.

10.9

"T," 1929

10.10

"U," 1929

10.11

"V," 1929; includes a letter from artist Douglas Volk, and correspondence with the Vose Galleries, Boston.

10.12

"W," 1929; includes correspondence with John D. Willard concerning Hekking's educational activities at the Gallery and his weekly Radio-Rotogravure talks for the public.

10.13

Washington, DC, American Association of Museums: correspondence, 1929; includes information and correspondence on A.A.G. activities, and correspondence about the art tariff.

10.14

Washington, DC, American Federation of Arts: correspondence, 1929; includes correspondence principally with Robert W. DeForest, pres., concerning circulation of E. Vedder Memorial exhibition, opposition to the art tariff, and Hekking's difference of opinion on the art tariff position held by the A.F.A.

10.15

Worcester Art Museum: loan and exhibition shipping correspondence, 1929

10.16

"X, Y, Z, " 1929; includes correspondence with Yamanaka and Company, oriental art dealers, and correspondence documenting a lecture by Hekking for the Buffalo Y.M.C.A.

 

1930

11.1

"A," 1930; includes correspondence with the American Art Dealers Association listing and describing the work of local artists.

11.2

Ainslee Galleries, NYC: correspondence, 1930

11.3

Association of Art Museum Directors: 15th Annual Meeting, Toledo, May 23, 1930; includes minutes, and lists and assesses circulating exhibitions available during the period 1928 to 1931.

11.4

"B," 1930

11.5

Baltimore Museum of Art: correspondence, 1930

11.6

Rollo W. Brown: lecture correspondence, October 1930-August 1931; includes printed publicity brochures, and exchange with Hekking on the subject of modern art.

11.7

"C," 1930

11.8

"D," 1930; includes correspondence with Durand-Ruel concerning possible purchase of Mary Cassat's Portrait of Mary Kelso. Not purchased.

11.9

Katherine Dreier, Societe Anonyme: correspondence and lecture, 1930-1931; includes material documenting the organization of the International Exhibition of Abstract Art (opening date at A.A.G., February 18, 1931), a manuscript copy of Dreier's foreword for the catalogue of the exhibition, letters expressing her belief in reincarnation, modern art, and other philosophical values, checklists annotated with prices, about 6 letters from Dreier plus telegrams, a "Who's Who" list of the Societe Anonyme, and the catalogue of the exhibition on the founding of the New School for Social Research, NYC, 1931.

11.10

"E," 1930

11.11

"F," 1930

11.12

Ferargil Galleries, NYC, 1930

11.13

"G," 1930

11.14

"H," 1930

11.15

"I," 1930

11.16

Indianapolis, John Herron Art Institute, 1930

11.17

"J," 1930

11.18

"K," 1930; includes correspondence with Spencer Kellogg, Jr., regarding his vacation activities in Florence, Italy; Knoedler and Company; Kraushaar Galleries, concerning loans on approval of water colors by Rodin.

11.19

"L," 1930

11.20

"M," 1930; includes correspondence with the Milwaukee Art Institute consisting of a questionnaire among major art museums concerning the payment of overtime wages to staff.

11.21

Macbeth Galleries, NYC, 1930; includes correspondence with Robert Macbeth.

12.1

"N," 1930

12.2

New York, The Metropolitan Museum of Art, 1930

12.3

New York, Roerich Museum, 1930; includes correspondence regarding exhibitions by Eugene Zak, and woodcuts by American, British and French artists, and Australian art, information on the International Pact for the Protection of Art and Science, and lecture brochures for disarmament movement lecturers.

12.4

"O," 1930

12.5

"P," 1930; includes correspondents with Walter Pach, art scholar; Steven S, Pichetto, art restorer for the Gallery; Mrs. George F. Plimpton concerning the "modern exhibition" and the Art School; W.H. Porterfield, photographer, concerning photos of Buffalo views.

12.6

Pittsburgh, Carnegie Institute Department of Fine Arts, 1930; includes loan correspondence concerning loans to the Carnegie International Exhibition from the collection of Mrs. Charles W. Goodyear, and the loan of A. John's Dr. Stressemann, and correspondence with director Homer St. Gaudens concerning the collecting policy of the Gallery since 1924. Inclusive dates, 1928 to 1930.

12.7

Publicity and Press Releases, 1930; includes transcripts of Hekking's radio talks and lectures, transcripts of talks by visiting lecturers. Subjects include modern art; the influence of Christ on art; popular culture versus educated taste in art. Also documents exhibitions, dates, and events at the Gallery.

12.8

"R," 1930; includes correspondence with F.K.M. Rehn Galleries, regarding loan to A.A.G.; Reinhardt Galleries; Rhode Island School of Design regarding the loan of Picasso's La Toilette; William A. Rogers, B.F.A.A. Board member concerning redecoration of the main floor galleries, and exhibitions by Melchers and Brush at the Grand Central Art Galleries, NYC.

12.9

Rochester Memorial Art Gallery: correspondence, 1930

12.10

"S," 1930; includes correspondence with Alfred H. Schoellkopf, Buffalo, regarding holding of concerts at the Gallery; Anton Sehutz, artist, offer of etchings for purchase; W.J. Schwanekamp, checklist of exhibition of drawings and etchings; State Teachers' College at Buffalo, Harry W. Rockwell, pres.; San Francisco: California Palace of the Legion of Honor, concerning C.B. Sage Quinton's resignation and her collection of artworks by Emile Menard.

12.11

Arnold Seligmann, Rey and Company: dealers, NYC, 1930

12.12

Marie Sterner: correspondence, 1930; includes A.A.G. purchase of Edy Legrand's Algerian Girl (December, 1930), the purchase of Couture's Head of a Woman (March, 1930), loans to A.A.G. exhibitions from Sterner, and negotiations for the Noguchi Exhibition.

12.13

St. Louis, City Art Museum: correspondence, 1930

12.14

"T," 1930

12.15

"U," 1930

12.16

"V," 1930; correspondence with dealers including Valentine Dudensing regarding modern art, and R.C. Vose of the Vose Galleries, Boston.

12.17

"W," 1930; includes the sales desk price list for the exhibition of drawings and etchings by A.C. Webb held 1930.

12.18

Washington, DC, American Association of Museums: Buffalo convention, June 4-7, 1930

12.19

Washington, DC, American Federation of Arts: correspondence, 1930

12.20

Forbes Watson, editor, The Arts magazine: letters and telegrams, 1930

12.21

"X, Y, Z, " 1930; includes correspondence with Buffalo Y.M.C.A.; Howard Young Galleries, NYC.

 

1931
Scope and Content: Correspondence of William M. Hekking (resigned, October 1931) and Gordon B. Washburn, (appointed acting director, October, 1911).

13.1

"A," 1931; includes an exchange with George C. Aronstamm concerning the offer for purchase of a portrait by Sargent and other works, and mentioning Hekking's resignation.

13.2

Association of Art Museum Directors, 1931; includes correspondence with J. Arthur Maelean, secretary, concerning the success of Katherine Dreier and Forbes Watson as lecturers at the Gallery, discussions of museum policies concerning student copying of artworks, politics within the A.A.M.D., agendas, and lists of available exhibitions.

13.3

"B," 1931

13.4

George Grey Barnard: correspondence, 1930-1931; includes A.A.G. purchase consideration of an Italian fresco.

13.5

Stephan Bourgeois, dealer and art scholar, NYC: correspondence, 1919-1931; includes consideration of various artists' works on approval including Daumier and Lachaise.

13.6

John Becker Galleries, 1931; includes loans of prints and facsimiles for exhibition in the "new" print room, basement level, A.A.G. December 1930 to June 1931.

13.7

Carl Bredemeier, Buffalo art dealer, 1931; includes a list of local artists represented by Bredemeier and a discussion of their merits, and correspondence concerning the rental of art for therapeutic purposes to local dentists.

13.8

Brooklyn Museum: correspondence, 1931

13.9

W.S. Budworth and Son: shipping correspondence, July 1931

13.10

"C," 1931; includes correspondence with Nora Christenson, regarding appointment to professional staff position at A.A.G., Nov., 1931; S. Merrill Clement, architect, regarding offer of a work by Cecilia Beaux; Chicago Museum of Science and Industry, regarding A.A.G. staff vacation policy.

13.11

Cambridge, Fogg Art Museum: correspondence with Paul J. Sachs, October-December 1931; Gordon B. Washburn, acting director; includes significant correspondence detailing the establishment of a print room at the Gallery, the hiring of Nora Christenson as educational secretary (including correspondence with Christenson re methods of mounting prints), preparations for an exhibition of prints from the Chapin collection, and an assessment of the strengths and weaknesses of the Gallery as seen by incoming director Washburn.

13.12

Carnegie Corporation, NYC: correspondence with museum education Consultant Paul Marshall Rea, 1931; includes an assessment of attendance statistics and factors affecting museum attendance from 1905 to 1930 with figures, and director Hekking's reasons for the decline of attendance at the Gallery from a pre-war average of 250,000 to the 1930 average of 90,000 including spread of the automobile, popularity of sports and especially golf, and the rise of the motion picture industry.

13.13

Chicago, Art Institute: circulating exhibition correspondence, 1931

13.14

College Art Association, NYC, 1931

13.15

Columbus Gallery of Fine Arts, 1931

13.16

"D," 1931; includes correspondence with Maud Dale, collector, NYC; Dallas Art Association, regarding museum design; Henry H. Days dealer; Randall Davey, artist.

13.17

Downtown Gallery, NYC, 1931; Max Weber exhibition correspondence.

13.18

"E," 1931

13.19

"F," 1931

13.20

Ferargil Galleries, NYC, 1931; includes correspondence concerning works by Arthur B. Davies, and the arrangement of a Davies watercolor exhibition at the Gallery for 1532, and checklist of exhibition.

13.21

56th Street Galleries, NYC, 1931; includes material concerning Thomas Eakins painting exhibition, and purchase consideration of a work by Eakins.

13.22

"G," 1931

13.23

"H," 1931; includes correspondence with Chauncey Hamlin, regarding Buffalo Junior League involvement with A.A.G; Thomas H. Hanrahan, regarding his purchase of F. Hopkinson-Smith's painting of the Electric Tower at the Pan-American Exposition, Buffalo, 1901; H. Hanton, art dealer, Paris; Elbert Hubbard Sir Charles Holmes, art expert and former director of the National Gallery, London, and correspondence regarding state of A.A.G. collection in 1931.

14.1

Marie Harriman Gallery, NYC, 1931

14.2

International Art Publishing Company, 1931; includes reproductions for use by local public schools.

14.3

Edouard Jonas, art dealer, Paris and New York, 1931

14.4

"K," 1931; includes correspondence with Kenmore Public Schools, regarding schedule of visits to Gallery; Kennedy Galleries, NYC, regarding various print exhibitions; Norman Kent, concerning woodcuts by Rockwell Kent and J.J. Lankes; H. Kevorkian, NYC; Knoedler and Company.

14.5

"L," 1931; includes correspondence with Lucy Lamar Galleries, regarding French Impressionist works sent on approval; Gaston Lachaise, artist; Robert Fulton Logan, artist, Paris.

14.6

C.T. Loo, oriental art dealer, NYC, February-October 1931; includes correspondence concerning consideration of T'ang dynasty tomb figures by Art Committee.

14.7

"M," 1931; includes correspondence with Mrs. Emile Rene Menard, France, regarding her husband’s works stored at A.A.G.; Pierre Matisse, NYC, regarding modern paintings.

14.8

Robert W. Macbeth: art dealer, NYC, 1931; includes notes and lists made by Hekking on the most important artworks in the permanent collection.

14.9

"N," 1931

14.10

New York: The Metropolitan Museum of Art, October-December 1931; includes correspondence regarding movie rentals for A.A.G. film program.

14.11

New York, Museum of Modern Art: loan correspondence, 1931

14.12

"O," 1931

14.13

Ottawa: National Gallery of Canada, 1931

14.14

"P," 1931; includes pencil sketches by an unknown artist, possibly a staff member; correspondence with L.R. Pissaro, regarding his catalogue of his father's gouaches, pastels and oils; Police Department, Buffalo, concerning traffic hazards on Elmwood Avenue; James B. Pond Lecture Bureau, including announcements and brochures.

14.15

Pittsburgh, Carnegie Institute Department of Fine Arts: circulating exhibitions and loans correspondence, 1931; includes loan of John's Dr. Stressemahn to the 29th International Exh.

14.16

Publicity and Press Releases, written by Geery Smith, A.A.G. publicity asst., December 1930-August 1931; includes announcements document exhibitions; Albright Art School graduation ceremonies; Women's Advisory Committee activities; obituary for local artist, Clare Shuttleworth; cooperation with Kenmore Public Schools; opening of State Teacher's College; Buffalo Society of Artists, and copies of lecture introduction speeches written by Smith.

15.1

"R," 1931

15.2

Reproduction Rights correspondence, 1931; includes a note from Childe Hassam giving permission to publish his Church at Old Lyme.

15.3

Rochester Memorial Art Gallery, 1931

15.4

"S," 1931; correspondents include: Eugene Speicher, regarding his portrait, Katherine Cornell as Candida; Anton Schutz exhibition of etchings at A.A.G.; State Teachers' College at Buffalo, correspondence regarding an adult education conference attended by Gordon Washburn; Syracuse Museum of Art, shipping arrangements for Davies and Orloff/Noguchi exhibitions, Hekking's resignation, funeral of Syracuse director Fernando Carter, news clippings.

15.5

Cornelia Bentley Sage Quinton, former art director: correspondence, 1931; includes correspondence from Sage in Monte Carlo, 1930 and a list of her property left in storage at the Gallery in 1925.

15.6

Marie Sterner: loan exhibition and purchase correspondence, 1931; includes correspondence regarding A.A.G. purchase of Noguchi's Anna Marie Merkel and Orloff's Femme au Turban, newsclippings concerning a Walter Zorach exhibition in New York, and many telegrams.

15.7

"T," 1931; includes correspondence with Toledo Museum of Art; Town Tidings magazine, Buffalo; Augustus Thibaudeau, photographer, Niagara Falls; Traffic Dept., City of Buffalo, regarding frequent accidents involving pedestrians on Elmwood Avenue.

15.8

"U," 1931; includes Mrs. Fred Ullman, Jr. Women's Advisory Committee Print Exhibition correspondence.

15.9

"V," 1931; includes Valentine Gallery, NYC announcement of exhibition of work by Joseph Stella.

15.10

"W," 1931

15.11

Washington, DC, American Association of Museums, 1931; includes a list of museums active in public education in 1931, correspondence between Washburn and Lawrence V. Coleman, director, concerning Washburn's new educational program at the Gallery, and a list of lecturers at the Gallery in 1931.

15.12

Washington, DC, American Federation of Arts, 1931

15.13

"X, Y, Z, " 1931; includes correspondence with Y.M.C.A. "World Conference," Buffalo, July, 1931; Howard Young Galleries, NYC, regarding Munnings exhibition

 


 
Search Terms
 

 
Contributors
Hekking, William Mathews, 1885-
Quinton, Cornelia Bentley (Sage) 1876-1936
Washburn, Gordon B. (Gordon Bailey), 1904-
Albright Art Gallery (Buffalo, NY)
Albright- Knox Art Gallery 

Subject Terms
Art museums--Exhibitions--New York (State)--Buffalo
Artists--Correspondence
Artists and museums--New York (State)--Buffalo
Sachs, Paul J. (Paul Joseph), 1878-1965


 
Related Resources


Related collections at the Albright-Knox Art Gallery Archives includes:

AK1.2.1, Buffalo Fine Arts Academy Records, 1880-1945

AK2.1, Artists' Letters.

AK2.3, Cornelia Bentley Sage Quinton Records, 1908-1930. Finding aid available online.

AK2.5, Gordon B. Washburn Records, 1932-1941. Finding aid available online.


 
Gallery Archives
Albright-Knox Art Gallery, G. Robert Strauss, Jr. Memorial Library 
 

Contact Information
G. Robert Strauss, Jr. Memorial Library
Albright-Knox Art Gallery
1285 Elmwood Avenue
Buffalo, New York 14222-1096
716.270.8240 TEL
716.882.6213 FAX
artref@albrightknox.org

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