Charles Sheeler papers, circa 1840s-1966, bulk 1923-1965

A Finding Aid to the Charles Sheeler Papers, circa 1840s-1966, bulk 1923-1965, in the Archives of American Art, by Jennifer Borland

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Funding for processing of this collection was provided by the Terra Foundation for American Art

Table of Contents:



Biographical Information

Painter, photographer, lithographer and designer, Charles Rettew Sheeler Jr. was born on July 16, 1883 to Mary Cunningham Sheeler and Charles Rettew Sheeler in Philadelphia. He attended the School of Industrial Art in Philadelphia from 1900-1903 and the Pennsylvania Academy of the Fine Arts, where he studied under William Merritt Chase. He found early success as a painter and exhibited at the Macbeth Gallery in 1908.

Around 1910 Sheeler took up photography, and by 1912 financially supported himself photographing buildings for local Philadelphia architects. The following year, Sheeler exhibited six paintings at the 1913 Armory Show in New York. In the mid 1910s, Sheeler began to collect American antiques, and by the 1920s was actively acquiring Shaker crafts and furniture.

In 1916, Sheeler was hired by Marius de Zayas of the Modern Gallery in New York to photograph objects and artwork. From 1917-1924, he worked as the staff photographer for the Modern Gallery and moved to New York in 1918. In 1920, Sheeler was hired as a still photographer for The Arts Magazine.

In 1926, Sheeler was hired by Edward Steichen to work as a fashion and celebrity photographer for Conde Nast Publications. His photographs were regularly featured in Vogue and Vanity Fair, but Sheeler also worked as a still life photographer for numerous advertising agencies. The following year, he was commissioned by the advertising firm N.W. Ayer and Son to photograph Ford Motor Company's new plant at River Rouge.

While working as a photographer, Sheeler continued to paint and used the subjects and composition of his photographs as a basis for his painting. His paintings Skyscrapers, 1922; Upper Deck, 1929; and American Landscape, 1930 are examples of Sheeler's technique of merging photographic imagery with painting and his overall precisionist style.

In 1931, upon the advice and guidance of Edith Halpert of the Downtown Gallery, Sheeler began to paint more often and to photograph less. Halpert became Sheeler's primarily dealer, and from 1931-1966 regularly exhibited his paintings and drawings. With Halpert's support, Sheeler produced Classic Landscape, 1931; American Interior, 1934; Silo, 1938; Amoskeag Canal, 1948; and Convolutions, 1952. In addition to Sheeler's partnership with Halpert, his work was exhibited by other galleries and museums throughout the United States and abroad.

In 1939, Sheeler married his second wife, Musya Metas Sokolova (1908-1981) and, in 1942, the couple moved to Irvington-on-Hudson, New York. Sheeler continued to paint and photograph until he suffered a debilitating stroke in 1959. After 1959, Sheeler remained active exhibiting his artwork until his death on May 7, 1965 in Dobbs Ferry, New York.

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Overview of the Collection

Scope and Contents

The papers of painter, photographer, lithographer and industrial designer Charles Sheeler measure 4.9 linear feet and date from circa 1840s to 1966, with the bulk of the material dating from 1923-1965. The collection documents Sheeler's family, personal life and career through financial and medical records, awards, correspondence, writings, an autobiography, journal and notebooks, scrapbooks, exhibition catalogs and announcements, printed materials, photographs, funeral records and artwork by Sheeler and others. The collection is particularly rich in Sheeler's writings, and also includes Sheeler's industrial designs and manufactured artwork. There are photographs of Sheeler with Edward Weston, Edward Steichen, and John Marin.

Biographical materials date from 1875, and 1928-1965, and include funeral records, medical records, insurance, tax, and scattered financial records. There is one folder of records relating to artwork and exhibitions, as well as Sheeler's numerous certificates, prizes and awards, and the condolence book used at his funeral.

Correspondence consists of Sheeler's personal and professional correspondence dating from 1937-1966 with friends, artists, dealers, collectors, photographers, and curators. Notable correspondents include Ansel Adams, Walter and Louise Arensberg, William Lane, Beaumont and Nancy Newhall, George Waters, William Carlos Williams, and Edward Weston. The series also includes correspondence with the Archives of American Art, Sheeler's biographer Constance Rourke, and with publishers, editors, children, and the general public. Lastly, there are condolence letters written to Musya Sheeler following Sheeler's death in May 1965.

Writings include Sheeler's journal dating from the 1950s-1963 and two notebooks containing notes, addresses, recipes, etc. Also found are Sheeler's writings on artists, drafts for articles, and a manuscript and notes for an autobiography that Sheeler wrote for Harcourt Brace. The autobiography became the basis for Constance Rourke's biography Charles Sheeler: Artist in the American Tradition published in 1938. The writing series also includes a short story by Musya Sheeler, and an illustrated short story by friend Dorothy Eidlitz.

The scrapbook series contains two oversize scrapbooks dating from 1930s-1960s that include newspaper and magazine clippings about Sheeler and his artwork, exhibition announcements and brochures, a poem, and a thank you letter from Abby Aldrich Rockefeller.

Additional printed materials date from 1923-1966 and document Sheeler's numerous exhibitions, notably his partnership with Edith Halpert and the Downtown Gallery. Found here are clippings, copies of magazines, exhibition announcements and catalogs, museum bulletings, books, and miscellaneous items.

Photographs date from circa 1840s-1963 and include photographs of Sheeler's family, of Sheeler, and of Sheeler with friends and colleagues. There is one daguerreotype, two ambrotypes, and two tintypes of Sheeler's family and of Sheeler as a child. There are copyprints of these originals. Additional photographs are of Sheeler's mother and father (or possibly Sheeler's grandparent), of Sheeler, of Sheeler with his wife Musya, Sheeler with William Lane, Sheeler with Edward Weston, and Sheeler with Edward Steichen and John Marin. The series also includes photographs of Sheeler's collection of Shaker furniture, and photographs of exhibitions.

Artwork by Sheeler dates from circa 1930s-1960s and includes artifacts of manufactured pieces based on his industrial designs. Found are a glass tumbler, salt and pepper shakers, a tea spoon, fabrics designed by Sheeler, and sketches. The series also includes a drawing by Peggy Bacon and a photograph by Minor White.

Arrangement and Series Description

The collection is arranged into seven series. Materials are arranged by material type and chronologically or alphabetically thereafter:

Subjects and Names

This collection is indexed in the online catalog of the Archives of American Art under the following terms:

Subjects:

  • Downtown Gallery (New York, N.Y.)

Subjects-Topical:

  • Painters -- New York (State) -- New York
  • Photographers -- New York (State) -- New York
  • Lithographers -- New York (State) -- New York
  • Industrial designers -- New York (State)-- New York

Types of Materials:

  • Artifacts
  • Awards
  • Photographs
  • Journals (accounts)
  • Writings
  • Works of art
  • Scrapbooks

Names:

  • Sheeler, Musya photographer.
  • White, Minor photographer.
  • Rourke, Constance, 1885-1941
  • Adams, Ansel, 1902-1984
  • Lane, William H.
  • Newhall, Beaumont, 1908-
  • Weston, Edward, 1886-1958
  • Williams, William Carlos, 1883-1963
  • Halpert, Edith Gregor, 1900-1970
  • Arensberg, Louise S., (Louise Stevenson), 1879-1953
  • Arensberg, Walter, 1878-1954
  • Newhall, Nancy Wynne.
  • Waters, George
  • Sheeler, Musya, 1908-1981
  • Bacon, Peggy, 1895-1987
  • Eidlitz, Dorothy
  • Archives of American Art

Provenance

Charles Sheeler's wife Musya initially loaned the papers to the Archives of American Art for microfilming in 1958, 1965, and 1966. In June, 1966, she donated most of the earlier loaned materials. In 1964, Sheeler's friend Howard Lipman donated three photographs of Sheeler with Edward Steichen and John Marin. The third accrual was transferred to the Archives by the Smithsonian American Art Museum and National Portrait Gallery Library in June 1979.

Separated and Related Materials

Portions of Sheeler's papers that were originally loaned for microfilming were not included in the later gifts and are available only on microfilm reel NSH-1. A watercolor study microfilmed on reel 1811 was later transferred to the Smithsonian American Art Museum. These materials are not described in the container list of this finding aid.

The Archives of American Art holds several collections that are related to Charles Sheeler.

There are two oral history interviews with Sheeler conducted by Mary Bartlett Cowdrey in December 1958, and by Martin Friedman in June 1959. The Archives also has the records of the Macbeth Gallery, which include a substantial amount of correspondence with Sheeler from 1907-1921, and the Downtown Gallery records, which also include correspondence with Sheeler, photographs of Sheeler and his artwork, exhibition publications, clippings, press releases, and audio visual materials dating from 1904-1972.

Also found in the the Archives is a loan of Charles Sheeler letters filmed on reel NY/59-5 containing letters written by Sheeler to his psychologist and art collector, Dr. Helen Boigon, art student George Craven, and friend William Carlos Williams, all dating from 1939-1958. There is a collection of six letters of Sheeler letters addressed to Doris Royce, possibly an art critic, dating from 1949-1957. Miscellaneous manuscript collections include one letter written by Sheeler to E.P. Richardson in 1958, and another letter written to Frank Crowninshield in September, 1939.

How the Collection was Processed

The collection received preliminary processing prior to microfilming and was filmed as loaned material on reels NSH-1 - NSH-3 and 1811-1812. All of the gift portions were merged and processed as one collection of papers by Jennifer Borland in 2008, with support from the Terra Foundation for American Art.


How to Use the Collection

Restrictions on Use

The collection is open for research. Use requires an appointment.

Ownership & Literary Rights

The Charles Sheeler papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to copyright laws.

Available Formats

Portions of the collection are available on 35 mm microfilm reels NSH-1-NSH3, 1811-1812 and D10 at Archives of American Art offices, and through interlibrary loan. Researchers should note that the arrangement of the collection as described in this finding aid does not reflect the order of the collection on microfilm.

How to Cite this Collection

Charles Sheeler papers, circa 1840s-1966, bulk 1923-1965. Archives of American Art, Smithsonian Institution.

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Detailed Description and Container Inventory

Series 1: Biographical Materials, 1875, 1928-1965
(Boxes 1, 5, OV10; 0.6 linear feet)

Biographical materials include funeral records from the Cunningham family--the family of Sheeler's mother, and a pathology report on Sheeler's father. Also found are a few scattered records concerning Sheeler's medical insurance, dietary meal plan, financial and tax records, property, and one folder concerning artwork and exhibitions. The series also includes Sheeler's numerous awards and prizes, and the condolence guest book used at his funeral.

Items are arranged by date.

Box Folder
1 1 Cunningham Family Funeral Records, 1875, 1928
1 2 Father's Pathology Report, 1938
1 3 Artwork and Exhibition Records, 1939, 1955, 1965
1 4 Awards and Prizes, 1945, 1957, 1962
(See Box 5, and OV10)
1 5 Financial and Tax Records, 1956-1957
1 6 Hallmark Art Award, 1957
1 7 Press Release: Philadelphia Museum School of Art, Alumni Award, 1957
1 8 Appeal to Congress: National Council on the Arts and Government, circa 1957
1 9 Insurance and Medical Records, circa 1957 1928
1 10 National Institute of Arts and Letters, Certificate of Membership, 1963
1 11 National Institute of Arts and Letters, Member Handbook, 1965
1 12 Funeral Condolence Guest Book, 1965
Box Folder
5 (hol) 1 The Norman Wait Harris Prize, 1945
(medal)
Box Folder
5 (hol) 2 Alumni Award, Philadelphia Museum School of Art, 1957
(trophy)
5 (hol) 3 American Academy of Arts and Letters, 1962
(medal)
5 (hol) 4 Philadelphia Fine Arts Festival Award, 1962
(silver plate)
Box
OV10 Philadelphia Fine Arts Festival Award, 1962
(certificate)

Series 2: Correspondence, 1937-1966,
(Boxes 1; 0.5 linear feet)

Sheeler's personal and professional correspondence from 1937-1966 includes correspondence with friends, artists, and collectors, including William Carlos Williams, Beaumont and Nancy Newhall, George Waters, Ansel Adams and Edward Weston, Walter and Louise Arensberg, and William Lane. The series also includes correspondence with Sheeler's biographer Constance Rourke, publishers, editors, curators, letters from children, letters from public, and television producers. There are condolence letters written to Musya Sheeler following Sheeler's death in May 1965.

Letters are arranged alphabetically by author. In a few cases, letters are grouped by subject.

Box Folder
1 13 Adams, Ansel and Virginia, 1956, 1958-1962
1 14 Archives of American Art, 1957-1959, 1965
1 15 Arensberg, Walter and Louise, 1938
1 16 Art in America, Letter to the Editor, 1955
1 17 Children's Letter to Sheeler, 1964-1965
1 18 Craven, George, 1957
1 19 Edwards, Ralph, 1953
1 20 Friedman, Martin, 1959
1 21 Harrison, Laurence, 1949
1 22 Hayes, Bartlett Jr., 1952, 1966, 1968
1 23 Institution for Physical Medicine, 1965
(thank you letters for donations in Sheeler's name)
1 24 Kepes, Gyorgy, 1958-1959
1 25 Lane, William and Jean, circa 1954
1 26 Letter Drafts, 1944, circa 1958-1959
1 27 Life Magazine, 1938
1 28 Lipman, Jean, 1959
1 29 McAlpin, David and Sally, 1951
1 30 Meyer, Eugene and Agnes, 1957-1958, 1964
1 31 Miscellaneous Sheeler, circa 1938, 1951, 1955-1959
1 32 Newhall, Beaumont and Nancy, 1957-1958
1 33-34 Rourke, Constance, 1937-1938
(2 folders)
1 35 Royce, Doris, 1958
1 36 Schoener, Allon, 1951
1 37 Sheeler, Charles, 1955
1 38-45 Charles Sheeler Death, 1965 May-August
(8 folders)
1 46 Sheeler, Musya, circa 1965
1 47 Sloan, Samuel, 1937-1938
1 48 Time Magazine, 1953
1 49 Warring, Helen, circa 1958
1 50 Waters, George, 1952, 1954, 1966
1 51 Wells, Donald, 1958-1959
1 52 Weston, Edward, circa 1950
1 53 Williams, William Carlos, 1938, 1944, 1946, circa 1949, 1950, 1957-1959, 1960

Series 3: Writings, circa, 1930s-1965
(Boxes 1-2; 0.4 linear feet)

Writings date from circa 1930s-1965 and include Sheeler's journal dated from circa 1950s-1963. The journal includes poems, writings, transcribed correspondence, transcribed articles (which were later published), and a paper delivered at a symposium on photography held at the Museum of Modern Art in October 1950. Two notebooks dating from about the same time includes miscellaneous notes and writings, adresses, and recipes. Additional writings by Sheeler include an article that he wrote for Arts Magazine, writings on artists, and a manuscript version of his autobiography, along with notes and drafts. The autobiography manuscript was commissioned by publisher Harcourt Brace in 1937, in which Sheeler outlines his career from his time at the School of Industrial Art in Philadelphia though the mid 1930s. The manuscript was not published, but was used as the basis for Constance Rourke's biography Charles Sheeler: Artist in the American Tradition published by Harcourt the following year.

The series also includes a short story by Musya Sheeler, and a short story illustrated with photographs of the Sheelers' by friend Dorothy Eidlitz.

Items are arranged by date.

Box Folder
1 54 Journal, circa 1950s-1963
1 55 Notebook, circa 1950s-1963
(contains addresses and food recipes)
1 56 Notebook, circa 1950s-1963
(contains writings and notes)
1 57 Article for Arts Magazine, circa 1925
1 58 Autobiography Manuscript, circa 1937
Box Folder
2 1-3 Autobiography Notes and Drafts, circa 1937
(3 folders)
2 4-5 Writings on Brueghel and Mantegna, circa 1940s-1950s
(2 folders)
2 6 Miscellaneous Writings, circa 1930s-1950s
2 7 Writings by Musya Sheeler, circa 1942-1960s
2 8 Writings by Dorothy Eidlitz, 1953
(1 of 2)
2 9 Writings by Dorothy Eidlitz, 1953
(2 of 2)

Series 4: Scrapbooks, 1930s-1960s
(Boxes 2, 6; 0.4 linear feet)

Two oversize scrapbooks dating from 1930-1960s contain newspaper clippings featuring Sheeler, his artwork or exhibitions, magazine clippings, and exhibition announcements, a poem, a thank you card from Abby Aldrich Rockefeller regarding Sheeler's commissioned painting of Bassett Hall, and a condolence letter from John Davidson Rockefeller regarding the death of Sheeler's father.

Items are arranged by date.

Box Folder
2 10 Scrapbook Fragments, circa 1930s-1960s
Box
6 (sol) Scrapbook, circa 1930s-1960s
(dismantled)
6 (sol) Scrapbook, circa 1930s-1960s
(dismantled)

Series 5: Printed Material, 1923-1966
(Boxes 2-4, 7; 1.5 linear feet)

Printed materials are extensive and dates from 1923-1966. Found are exhibition catalogs, announcements, brochures and museum bulletins that document the numerous exhibitions in which Sheeler participated. The series also includes art journals and magazines that featured Sheeler's artwork or published his writings. The newspaper clippings are also extensive, and document Sheeler's career and personal interests. The clippings often featured Sheeler's wife Musya and friends including William Carlos Williams and Agnes Meyer.

Books in the series include Egyptian Statues, and The Great King…King of Assyria, published by the Metropolitan Museum of Art. The Metropolitan publications are illustrated with Sheeler's photography and examples of his work as a still photographer.

Miscellaneous printed materials include a publicity packet for the television program "The Artists Eye" which featured Sheeler in 1963, an invitation to John Fitzgerald Kennedy's Presidential Inaugural and the funeral eulogy for his friend Eugene Meyer.

The series is arranged into seven subseries:

5.1: Exhibition Catalogs, 1946-1966,

Box Folder
2 11 Contemporary American Painting, Whitney Museum of American Art, 1949-1950
2 12 40 American Painters: 1940-1950, University of Minnesota, 1951
2 13 Sheeler: Retrospective Exhibition, University of California Art Galleries, 1954
2 14 Creative Photography, University of Kentucky, 1956
2 15 American Artists Paint the City, Art Institute of Chicago, 1956
2 16 Contemporary American Painting and Sculpture, University of Illinois, 1957
2 17 Edward Wales Root: 1888-1956 An American Collector, Munson-Williams-Proctor Arts Institute, 1957
2 18 William Merritt Chase: A Retrospective Exhibition, Parish Art Museum, 1957
2 19 Seventy Photographers: Look at New York, Museum of Modern Art, 1957-1958
2 20 1913 Armory Show: In Retrospect, Amherst College, 1958
2 21 American Art: From the William Lane Foundation, Currier Gallery of Art, 1958
2 22 Cinquante-Cinq ans de la Peniture Contemporaine Americaine, Meltzer Gallery, 1958
(French)
2 23 Realisme Americain, Whitney Museum of American Art, 1958
(French)
2 24 Sheeler: Recent Paintings, Downtown Gallery, 1958
2 25 American Line: 100 Years of American Drawing, Addison Gallery of American Art, 1959
2 26 American Painting and Sculpture, Exhibited in Moscow, 1959
(Russian)
2 27 Contemporary American Painting and Sculpture, 1959 University of Illinois,
2 28 Sheeler: A Retrospective Exhibition, New Gallery, Massachusetts Institute of Technology, 1959
2 29 The Precisionist View in American Art, Walker Art Center, 1960
2 30 64th American Exhibition: Painting and Sculpture, Art Institute of Chicago, 1961
2 31 Charles Sheeler, Retrospective Exhibition, Allentown Art Museum, 1961
2 32 Art Since 1950, Seattle's World's Fair, 1962
2 33 1913 Armory Show: 50th Anniversary Exhibition 1963, Munson-Williams Proctor Arts Institute, 1963
2 34 New Tradition: Modern Americans Before 1940, Corcoran Gallery, 1963
2 35 In Focus: A Look at Realism in Art, Memorial Gallery, Rochester, 1964-1965
2 36 Art in the Home, Loch Haven Art Center, Orlando Florida, 1965
2 37 Six Decades of American Art, Leicester Galleries, London, 1965
2 38 Art of the United States: 1670-1966, Whitney Museum of American Art, 1966

5.2: Exhibition Announcements, 1946-1966,

Box Folder
2 39 Charles Sheeler: Recent Paintings, Downtown Gallery, 1946
2 40 Sheeler: From the William Lane Foundation, Downtown Gallery, 1956
2 41 Charles Sheeler, Katonah Gallery, 1960
2 42 Charles Sheeler: Tempera on Plexiglas, Downtown Gallery, 1965
2 43 Sheeler: (1883-1965) Exhibition, Downtown Gallery, 1966

5.3: Museum Bulletins, 1949-1963,

Box Folder
2 44 The Currier Gallery of Art, 1949 April
2 45 Archives of American Art, 1960-1963
2 46 Philadelphia Museum Bulletin: The Shakers and Their Crafts, 1963

5.4: Books, 1945-1963,

Box Folder
2 47 Egyptian Statues, Metropolitan Museum of Art, 1945
2 48 Egyptian Statues, Metropolitan Museum of Art, 1946
2 49 The Great King...King of Assyria, Metropolitan Museum of Art, 1946
(See Box 7)
2 50 Sight and Insight, 1956
(by Alexander Eliot)
Box Folder
7 (sol) 1-2 The Great King...King of Assyria, Metropolitan Museum of Art, 1946
(2 copies)

5.5: Journals and Magazines, 1923-1966,

Box Folder
2 51 The Arts, 1923 May
(See Box 7)
2 52 Life Magazine, 1938 August
(See Box 7)
2 53 Fortune Magazine, 1939 April
(See Box 7)
2 54 Fortune Magazine, 1940 December
(See Box 7)
2 55 "Power: Six Paintings by Charles Sheeler," Fortune Magazine, 1940 December
(See Box 7)
2 56 Pageant, 1947 June
2 57 Reader's Digest, 1951 February
Box Folder
3 (hol) 1 Art in America, 1954 October
Box Folder
3 (hol) 2 Art in America, 1955 October
3 (hol) 3 Art News, 1955 Summer
3 (hol) 4 Aperture, 1956 Vol. 4 No. 3
3 (hol) 5 Art in America, 1956 Spring
3 (hol) 6 American Artist, 1959 January
3 (hol) 7 Art in America, 1960 No. 3
3 (hol) 8 Art in America, 1965 No. 1
3 (hol) 9 Journal of the Archives of American Art, 1965 April
3 (hol) 10 New Hampshire Profiles, 1966 May
Box Folder
7 (sol) 3 Life Magazine, 1938 August
7 (sol) 4 Fortune Magazine, 1939 April
7 (sol) 5 Fortune Magazine, 1940 December
7 (sol) 6 "Power: Six Paintings by Charles Sheeler," Fortune Magazine, 1940 December

5.6: Newspaper Clippings, 1931-1966,

Box Folder
3 (hol) 11 Clippings, 1931, 1938
3 (hol) 12 Clippings, 1947, 1953-1954
3 (hol) 13 Clippings, 1955-1958
3 (hol) 14 Clippings, 1959
3 (hol) 15 Clippings, 1960-1962
3 (hol) 16 Clippings, 1963
3 (hol) 17 Clippings, 1965-1966

5.7: Miscellaneous Printed Material, 1959-1965,

Box Folder
4 (hol) 1 Eugene Meyer Eulogy, 1959
4 (hol) 2 John Fitzgerald Kennedy Presidential Inaugural Invitation, 1961
4 (hol) 3 America: The Artists Eye, 1963
(publicity packet)
4 (hol) 4 Unused Appointment Calendar, 1963
4 (hol) 5 Rockefeller Memorial Windows Brochure, circa 1965

Series 6: Photographs, circa 1840s-1963
(Box 4, OV11; 0.4 linear feet)

Photographs date from circa 1840s-1963 and include photographs of Sheeler's family, of Sheeler, and of Sheeler with friends and colleagues. There is one daguerreotype and two ambrotypes of unidentified women (possibly Sheeler's relatives) and of a young child (possibly Sheeler). Two tintypes depict unidentified woman and Charles Sheeler as a child. There are copyprints of these originals.

Additional photographs are of Sheeler's mother and father (or possibly Sheeler's grandparents), of Sheeler, of Sheeler with his wife Musya, Sheeler with William Lane, Sheeler with Edward Weston, and Sheeler with Edward Steichen and John Marin. The series also includes photographs of Sheeler's collection of Shaker furniture, and photographs of exhibitions.

Items are arranged by subject and date.

Box Folder
4 (hol) 6 Unidentified Women (possibly Sheeler's relatives), circa 1840s-1880s
4 (hol) 7 Sheeler Parents or Grandparents, circa 1880s-1900s
4 (hol) 8 Sheeler's Boyhood Home, circa 1800s-1910s
4 (hol) 9 Charles Sheeler, circa 1883-1958
4 (hol) 10 Sheeler with Wife Musya, 1947, 1961
Box Folder
4 (hol) 11 Unidentified Friends, circa 1950s
Box Folder
4 (hol) 12 Sheeler with Edward Weston, 1954
(photographs by George Waters)
4 (hol) 13 Sheeler with William Lane, 1958
(photographs by Musya Sheeler)
4 (hol) 14 Sheeler with Edward Steichen and John Marin 1958
(see OV11)
4 (hol) 15 Sheeler with Others, 1961
4 (hol) 16 Sheeler's Shaker Furniture Collection, 1962
(photographed by the Philadelphia Museum of art for the exhibit The Shakers: Their Arts and Crafts)
4 (hol) 17 Exhibition Photographs, The Shakers: Their Arts and Crafts, 1962
(exhibited at the Philadelphia Museum of Art)
4 (hol) 18 Photographs of a Sheeler Exhibition, circa 1963
(possibly a retrospective)
Box
OV 11 Sheeler with Edward Steichen and John Marin, 1958
(three photographs)
Box
Photo Drawer 8 Unidentified Older Woman, circa 1840s-1880s
(daguerreotype)
Photo Drawer 8 Unidentified Woman, circa 1840s-1880s
(ambrotype)
Photo Drawer 8 Unidentified Woman, circa 1840s-1880s
(ambrotype)
Photo Drawer 8 Unidentified Woman, circa 1840s-1880s
(tintype)
Photo Drawer 8 Young Child (possibly Charles Sheeler), circa 1884
(ambrotype)
Photo Drawer 8 Charles Sheeler as a Boy, circa 1886
(tintype)

Series 7: Artwork, circa 1930s-1960s
(Boxes 4-5, 8-9, OV12-OV14; 1.1 linear feet)

The artwork series consists of art works by Sheeler and others, which date from circa 1930s-1960. The series is particularly rich documenting Sheeler's industrial designs, fabrics and manufactured objects. Artwork by Sheeler includes oversize sketches, industrial designs, fabrics and manufactured objects. The series also includes a drawing by Peggy Bacon (a gift for Sheeler's birthday), and an art photograph by Minor White. There is also a copy negative and copy print for this photograph.

The industrial designs are dated circa early 1930s, and were possibly commissioned by Samuel M. Kootz Associates. They include designs for a flower pot stand, cream and sugar set, sandwich tray, smoking stand, and a wood rack. The fabrics are in a variety of types and patterns including, knitted wool, linen, and printed rayon (or silk). The objects include a glass tumbler manufactured by the Steuben Glass Company, and a salt and pepper shaker set and silver tea spoon, both possibly manufactured by Revere Copper and Brass Inc. The fabrics and manufactured objects were exhibited at the Downtown Gallery's Practical Manifestations in Art, in December 1934.

A copy negative and copy print have been created for Minor White's photograph, which are filed with the original.

The series is arranged into two subseries:

7.1: Artwork by Sheeler, circa 1930s-1960s,

Box Folder
4 (hol) 19 Industrial Designs, circa 1930s
(See OV 12-OV 13)
4 (hol) 20 Glass Tumbler, circa 1934
(See Box 5)
4 (hol) 21 Salt and Pepper Shaker Set, circa 1934
(See Box 5)
4 (hol) 22 Silver Tea Spoon, circa 1934
(See Box 5)
4 (hol) 23 Fabrics, circa 1934
(See Boxes 8-9)
4 (hol) 24 Pen and Ink Sketch (probably by Sheeler), circa 1940s-1960s
4 (hol) 25 Sketches, circa 1950s-1960s
(See OV14)
Box Folder
5 (hol) 5 Glass Tumbler, circa 1934
5 (hol) 6 Salt and Pepper Shaker Set, circa 1934
5 (hol) 7 Silver Tea Spoon, circa 1934
Box
8 (sol) Fabrics, circa 1934-1936
Box
9 (sol) Fabrics, circa 1934-1936
Box
OV 12 Design for a Flower Pot Stand, circa 1930s
Box
OV 13 Design for a Cream and Sugar Set, circa 1930s
OV 13 Design for a Sandwich Tray, circa 1930s
OV 13 Design for a Smoking Stand, circa 1930s
OV 13 Design for a Wood Rack, circa 1930s
Box
OV 14 Sketches, circa 1950s-1960s

7.2: Artwork by Others, circa 1930s-1960s,

Box Folder
4 (hol) 26 Drawing by Peggy Bacon, circa 1940s-1960s
4 (hol) 27 Photograph by Minor White, circa 1940s-1950s