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

Download PDF Version of this page [Download PDF Version]

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.

Return to top


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 index terms:

  • Adams, Ansel, 1902-1984
  • Archives of American Art.
  • Arensberg, Louise S., (Louise Stevenson), 1879-1953
  • Arensberg, Walter, 1878-1954
  • Bacon, Peggy, 1895-1987
  • Downtown Gallery (New York, N.Y.)
  • Eidlitz, Dorothy
  • Halpert, Edith Gregor, 1900-1970
  • Lane, William H.
  • Newhall, Beaumont, 1908-1993
  • Newhall, Nancy Wynne.
  • Rourke, Constance, 1885-1941
  • Sheeler, Musya, 1908-1981
  • Sheeler, Musya
  • Waters, George
  • Weston, Edward, 1886-1958
  • White, Minor
  • Williams, William Carlos, 1883-1963
  • Artifacts
  • Awards
  • Industrial designers--New York (State)--New York
  • Journals (accounts)
  • Lithographers--New York (State)--New York
  • Painters--New York (State)--New York
  • Photographers--New York (State)--New York
  • Photographs
  • Scrapbooks
  • Works of art
  • Writings

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.

Return to top

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 Magazine1938
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 Magazine1953
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 Sculpture1959, 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 Art1949 April
2 45 Archives of American Art1960-1963
2 46 Philadelphia Museum Bulletin: The Shakers and Their Crafts1963

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 Insight1956
(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 Arts1923 May
(See Box 7)
2 52 Life Magazine, 1938 August
(See Box 7)
2 53 Fortune Magazine1939 April
(See Box 7)
2 54 Fortune Magazine1940 December
(See Box 7)
2 55 "Power: Six Paintings by Charles Sheeler," Fortune Magazine1940 December
(See Box 7)
2 56 Pageant1947 June
2 57 Reader's Digest1951 February
Box Folder
3 (hol) 1 Art in America1954 October
Box Folder
3 (hol) 2 Art in America1955 October
3 (hol) 3 Art News1955 Summer
3 (hol) 4 Aperture1956 Vol. 4 No. 3
3 (hol) 5 Art in America1956 Spring
3 (hol) 6 American Artist1959 January
3 (hol) 7 Art in America1960 No. 3
3 (hol) 8 Art in America1965 No. 1
3 (hol) 9 Journal of the Archives of American Art, 1965 April
3 (hol) 10 New Hampshire Profiles1966 May
Box Folder
7 (sol) 3 Life Magazine, 1938 August
7 (sol) 4 Fortune Magazine1939 April
7 (sol) 5 Fortune Magazine1940 December
7 (sol) 6 "Power: Six Paintings by Charles Sheeler," Fortune Magazine1940 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 Eye1963
(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
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 1933-1934
(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 1933-1934
Box
9 (sol) Fabrics, circa 1933-1934
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