Elizabeth McCausland papers, 1838-1995, bulk 1920-1960

A Finding Aid to the Elizabeth McCausland Papers, 1838-1965, bulk 1920-1960, in the Archives of American Art, by Jennifer Meehan

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

Table of Contents:



Biographical Information

Elizabeth McCausland, the art critic and writer, was born in Wichita, Kansas in 1899. She attended Smith College, receiving her Bachelor's degree in 1920 and her Master's in 1922. Beginning in 1923, she worked as a general reporter for The Springfield Republican (Springfield, Massachusetts). After several years, she began to review art exhibitions and soon became an established art critic. In the course of her work, she began to develop friendships with artists, such as Alfred Stieglitz and Arthur Dove. During these early years, she also wrote poetry and designed and printed limited edition publications on her private press.

McCausland moved to New York in 1935, but continued to contribute a weekly art column to The Springfield Republican until it suspended publication in 1946. From the mid-1930s on, she worked primarily as a freelance writer and art critic, contributing articles to publications such as Parnassas, The New Republic, and Magazine of Art. In the latter part of her career, her writings focused more on art history and special studies on artists.

In the late-1930s, McCausland collaborated with the photographer Berenice Abbott on the Federal Art Project book, Changing New York, for which she provided the text to Abbott's now-famous photographs of New York City neighborhoods, architecture, and street scenes. She studied and wrote about photography, including numerous articles on the photographer Lewis Hine (of whose work she organized a retrospective exhibition at the Riverside Museum in 1939), and was appointed to the Advisory Committee of the Museum of Modern Art's Department of Photography in 1944.

McCausland went on to organize other exhibitions, including a show of contemporary work, "The World of Today" (Berkshire Museum, 1939), shows of silk screen prints (Springfield Museum of Fine Arts, March 1940 and New York State Museum, Summer 1940), and a photography show, "Photography Today" (A.C.A. Gallery, 1944). In the late 1930s, she embarked upon a study of "the status of the artist in America from colonial times to the present, with especial attention to the relation between art and patronage," which continued over twenty years (and was never completed) and for which she received a Guggenheim fellowship in 1943.

In addition to her other writing, during the 1940s, McCausland carried out studies on the artists, E. L. Henry and George Inness, which resulted in exhibitions at the New York State Museum in 1942 and the George Walter Vincent Smith Art Museum in 1946, respectively and publications (a report on Henry and a book on Inness). From 1948 to 1949, she carried out an extensive study of the painter, Alfred H. Maurer, organizing an exhibition, "A. H. Maurer: 1868-1932," which showed at the Walker Art Center and the Whitney Museum of American Art in 1949, and publishing the biography, A. H. Maurer, in 1951. In 1950, she worked as a special consultant on the American Processional exhibition at the Corcoran Gallery and as editor of the accompanying book. Shortly thereafter, she began a study of Marsden Hartley for a monograph, which was published in 1952, and she helped organize the Hartley exhibition at the University of Minnesota that same year. She continued the Hartley study on larger scale for a planned biography and catalogue raisonne; although she continued to work on it off and on for the next decade, the project was never completed.

McCausland published other books, including Careers in the Arts (1951), and undertook other research and consulting projects, such as photo-editing Carl Sandburg's Poems of the Midwest (1946), conducting surveys of art and advertising for an article in Magazine of Art and of art education for Cooper Union Art School, and contributing yearly articles on art to various encyclopedias. At different times throughout her career, she supplemented her income by taking teaching positions. She taught courses on art history at Sarah Lawrence College from 1942 to 1944 and at Barnard College in 1956, as well as courses at the Design Laboratory (1939) and the New School for Social Research (1946). She also gave numerous lectures and speeches on various art topics, and regularly participated in conferences and symposiums. Towards the end of her career, she was publishing less, but was still involved in many projects, most notably the Hartley study.

McCausland was a tireless promoter of the arts, and often an advocate for artists. Even though her work was well-known among certain art circles, she never received the recognition as a writer that she deserved. Nor was she ever able to free herself from the pressure of writing for a living. Continually suffering from poor health, she died on May 14, 1965.

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Overview of the Collection

Scope and Contents

The papers of art critic, writer, and historian Elizabeth McCausland measure approximately 33.9 linear feet and date from 1838 to 1965, with the bulk of the material dating from 1920 to 1960. The collection provides a vast accumulation of data on various artists and aspects of American art, especially the early American modernists and the Federal Arts Projects. Papers include McCausland's extensive research and writing files, particularly on Marsden Hartley, E. L. Henry, Lewis Hine, George Inness, and Alfred H. Maurer. McCausland's correspondence with artists includes a substantial amount with Arthur Dove and Alfred Stieglitz. Her collaborative work with Berenice Abbott on the Changing New York book and series of photographs is well-documented within the collection. Also found are general writings, subject files, files relating to exhibitions, teaching, and committees, photographs, art work, personal papers, and printed material.

McCausland's personal papers consist of appointment books and engagement calendars, scrapbooks, student papers, works printed on her private press, financial records, biographical material, and scattered memorabilia, which together document other aspects of her life apart from her work. Correspondence includes incoming and outgoing letters along with enclosures, dating from McCausland's time as a journalist for The Springfield Republican in the 1920s and 1930s to her time as a freelance writer, art critic, and historian (1940s-1960s) and mostly concerning professional matters. Also included is a substantial amount of correspondence with artists, particularly Arthur Dove and Alfred Stieglitz, and some personal correspondence with her mother. General writings consists primarily of copies of McCausland's speeches and lectures on various art topics in addition to her early poems (dating from the 1930s) and scattered essays and articles.

The most extensive part of the collection is comprised of McCausland's research and writing files pertaining to large research and curatorial projects, such as ones on the artists Alfred H. Maurer and Marsden Hartley (which was begun by the American Art Research Council and subsequently taken over by McCausland), and one for the American Processional exhibition at the Corcoran Gallery in 1950. A wide variety of smaller projects are also well-documented in the series Other Research and Writing Files, including ones on E. L. Henry, Lewis Hine, George Inness, her collaborative work with Berenice Abbott on the Changing New York book and series of photographs. Numerous other artists and art topics are covered as well, such as Arthur Dove, Robert Henri, Jacob Lawrence, Charles Hawthorne, film, and photography. Files for her book Careers in Art (1950), her many speaking and lecture engagements, and editing work are also found in this series. Files consist primarily of correspondence, notes, research material, manuscripts, bibliographies, photographs of works of art, completed research forms for works of art, card index files, and printed material.

Also found are subject files containing printed material, scattered notes and correspondence, and photographs, which may have been used for reference and/or collected in the course of McCausland's research activities; files relating to various exhibitions organized by McCausland from 1939 to 1944, including ones of silk screen prints and modern photography; files relating to courses on art history taught by McCausland, especially the one she taught at Barnard College in 1956; and files stemming from her participation in various art organizations and committees, especially during the time period just before and during the Second World War.

Printed material consists primarily of clippings and tear sheets of McCausland's newspaper articles and columns, which document her contributions to The Springfield Republican from 1923 to 1946, in addition to scattered exhibition catalogs, announcements, books, and miscellaneous publications. Photographs include ones of various artists and works of art, ones from the Farm Security Administration, and ones by photographers, such as Berenice Abbott (including ones from the Federal Art Project book, Changing New York), Barbara Morgan, Weegee, and Edward Weston, among others. Photographs, sometimes annotated or including notes, are scattered throughout her research files. Also included are photographs of McCausland, dating from her childhood. Art work found in the collection includes drawings, prints, and watercolors that were either given to McCausland by the artist or collected by her in the course of her work as an art critic and historian.

Arrangement and Series Description

The Elizabeth McCausland papers are arranged into fourteen series:

Subjects and Names

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

Subjects:

  • Hartley, Marsden, 1877-1943
  • Hawthorne, Charles Webster, 1872-1930
  • Henri, Robert, 1865-1929
  • Henry, Edward Lamson, 1841-1919
  • Hine, Lewis Wickes, 1874-1940
  • Inness, George, 1825-1894
  • Lawrence, Jacob, 1917-
  • Maurer, Alfred Henry, 1868-1932
  • Federal Art Project (U.S.)
  • Springfield Republican

Subjects-Topical:

  • Art -- Societies, etc. -- United States
  • Art -- Exhibitions -- United States
  • Art criticism -- United States
  • Documentary photography -- United States
  • Federal aid to the arts
  • Art critics -- New York (State) -- New York
  • Art historians -- New York (State) -- New York
  • Authors -- New York (State) -- New York

Subjects-Geographical:

  • New York N.Y. -- Pictorial works -- Photographs

Types of Materials:

  • Photographs
  • Scrapbooks
  • Drawings
  • Prints
  • Watercolors

Names:

  • Abbott, Berenice, 1898- -- Changing New York
  • Dove, Arthur Garfield, 1880-1946
  • Stieglitz, Alfred, 1864-1946
  • Weston, Edward, 1886-1958
  • Weegee, 1899-1968
  • Morgan, Barbara Brooks, 1900-

Provenance

Elizabeth McCausland donated the bulk of her papers in several installments from 1956 to 1961. An unknown donor, perhaps her literary executor, donated additional papers sometime after her death in 1965. It appears that McCausland originally donated her research files on Marsden Hartley, measuring 10 linear feet, to the Whitney Museum, who then lent them to the Archives for microfilming in 1966, and donated them sometime thereafter. McCausland originally donated files of newspaper clippings and offprints of her articles to the The New York Public Library, who gave them to the Archives in 1968.

Separated and Related Materials

Material separated from the collection includes some issues of Camera Work (Vol. 30, 47, 49/50), which were combined with other issues in an artificial collection created by the Archives at some earlier point.

Related material found in the Archives includes a sound recording from a symposium on Marsden Hartley, of which McCausland was a participant, held at the Portland Museum of Art in 1961. The Frank Kleinholz papers contain a recorded interview of McCausland done in 1944-1945 for radio station WNYC. Some of McCausland's correspondence is found in the G. Alan Chidsey papers; Chidsey served as a trustee of the Marsden Hartley estate.

How the Collection was Processed

Portions of the collection received a preliminary level of processing at some point after donation. Material was typically microfilmed in the order it was accessioned on reels D368-D384H, 1256, D24, 3134, and D319, and some material was never microfilmed at all. Photographs by Berenice Abbott, Barbara Morgan, and Edward Weston received conservation treatment at the Conservation Center for Art and Historic Artifacts between 1985-1991. Previously microfilmed and unmicrofilmed portions were merged, arranged, and described in accordance with archival standards; and the collection was fully processed by Jennifer Meehan in 2006 and digitized in 2008 as part of the Terra Foundation for American Art Digitization Grant.


How to Use the Collection

Restrictions on Use

The bulk of the collection has been digitized and is available online via AAA's website.

Ownership & Literary Rights

The Elizabeth McCausland 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 all copyright laws.

Available Formats

The bulk of the collection was digitized in 2008 and is available via the Archives of American Art's website. Materials generally not scanned include some newsclippings and publications that were either too fragile or not relevant, although some publications that appeared to be of interest to her were scanned. Other items that typically were not scanned include McCausland's student records, auction catalogs, proofs and multiple drafts of published articles, copy prints and negatives of photographs made by the Archives, photographs of works of art (except for those in the catalogue raisonne files of the Marsden Hartley series), duplicate material, and any published material that is widely available elsewhere. In some cases, only the cover and title pages for publications were scanned.

How to Cite this Collection

Elizabeth McCausland papers, 1838-1965, bulk 1920-1960. Archives of American Art, Smithsonian Institution.

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Detailed Description and Container Inventory

Series 1: Personal Papers, 1838, 1920-1951
(Boxes 1-2, 34; 1.5 linear feet)

Series consists of material relating to the more personal aspects of McCausland's life, including appointment books and engagement calendars, scrapbooks, student papers, works printed on her private press in Springfield, Massachusetts, financial records, biographical material, and scattered memorabilia. Scrapbooks include one kept by McCausland, dating from 1937 to 1940, comprised of correspondence from Waldo Leland Cook, Art Young, Max Weber, and Edward Sternberg, clippings, and other printed material (which was disassembled at some previous point in time and exists now as loose items); and one kept by her mother, Belle Noble McCausland, dating from 1920 to 1943, comprised mostly of clippings and empty envelopes from letters received by McCausland (letters were removed at some previous point in time and can now be found amongst correspondence). Student papers include an honors paper written while an undergraduate at Smith College and a copy of her M.A. thesis published in Smith College Studies in Modern Languages (1922). Amongst the memorabilia is a sign from Lake George that, according to a note on it, was given to McCausland by Alfred Stieglitz, presumably some time during the 1930s.

Also found is material relating to the scrip McCausland received as payment for work at The Springfield Republican in 1933; a car trip McCausland made with Berenice Abbott in 1935; and a testimonial dinner for McCausland "in recognition of her work in the field of art criticism and of her efforts on behalf of all artists" which was held on May 28, 1945 at the Hotel Breevort in New York.

Personal papers are arranged in alphabetical order according to format. This series is partially scanned; early academic records, tax records, duplicates, and poems written by others have not been scanned.

Box Folder
1 1 Academic Records, 1942-1943
(Not scanned)
1 Appointment Books (See also Engagement Calendars)
1 2 Appointment Books, 1937
1 3 Appointment Books, 1938
1 4 Appointment Books, 1939
1 5 Appointment Books, 1940
1 6 Appointment Books, 1941
1 7 Appointment Books, 1942
1 8 Appointment Books, 1943
1 9 Appointment Books, 1945
1 10 Appointment Books, 1946
1 11 Appointment Books, 1948
1 12 Appointment Books, 1949
1 13 Biographical Material, 1942-1950
1 14 Book of Poems by Genevieve Taggard, undated
(Not scanned)
1 15 Curriculum Vitae Material, undated
1 Engagement Calendars (See also Appointment Books)
1 16 Engagement Calendars, 1947
1 17 Engagement Calendars, 1950
Box Folder
2 1 Financial Records, 1944-1946, 1950-1952
2 2 Income Taxes, 1943-1946, 1950
(Not scanned)
2 Memorabilia
2 3 Cover of The New York Mirror, 1838
(Oversized item in Box 34)
2 4 Sign Given to McCausland by Alfred Stieglitz, 1930s
(Oversized item in Box 34)
2 5 Miscellaneous (includes childhood photographs), 1934-1935, undated
2 6-8 Private Press, 1928-1935
(3 folders)
2 9-11 Private Press, Duplicates, 1928-1935
(3 folders; not scanned)
2 12 Recommendations, 1935-1936, 1951
2 13 Scrapbook Kept by Belle Noble McCausland, 1920-1943
2 14-18 Scrapbook, 1937-1940
(5 folders)
2 19 The Springfield Republican, Scrip, circa 1933
(Not scanned)
2 Student Papers
2 20 Special Honors in English (B.A.), [1920]
2 21 American-Scandinavian Foundation Fellowship, 1922
2 22 M. A. Thesis, 1922
2 23 Testimonial Dinner for Elizabeth McCausland, 1945
2 Trip Made by Elizabeth McCausland and Berenice Abbott
2 24 "Log," 1935
2 25 Maps, 1935
Box
34 (sol) Oversize, Memorabilia
34 (sol) Cover of The New York Mirror, 1838
(Scanned with Box 2, Folder 3)
34 (sol) Sign Given to McCausland by Alfred Stieglitz, 1930s
(Scanned with Box 2, Folder 4)

Series 2: Correspondence, 1923-1960
(Boxes 2-5; 2.9 linear feet)

Series consists primarily of McCausland's professional and, to a lesser extent, personal correspondence, which includes general, artist, and some family correspondence. Correspondence typically consists of letters to and copies of letters from McCausland, along with enclosures (such as clippings and other printed material; contracts, agreements, and other business and financial papers; and proposals and manuscripts) and related material (such as notes, illustrations, and writings). Correspondents include artists, art organizations, museums, curators, editors, publishers, scholars, research institutions, her agent (Mary Squire Abbot), friends, and her mother, Belle Noble McCausland. Correspondence largely documents McCausland's various professional activities as an art critic, art historian, and freelance writer, and her relationships with various figures of the art and publishing worlds before, during, and immediately after the Second World War.

General correspondence relates to articles and reviews that McCausland wrote for the Springfield Republican; to freelance articles she wrote over the years for various publications, including ones for Parnassus, The New Republic, and Magazine of Art, as well as yearly articles for various encyclopedias (such as Encyclopedia Britannica, Encyclopedia Americana, and Collier Encyclopedia); and to various book projects, including Changing New York (1939), Careers in the Arts (1950), and ones on the artists E. L. Henry, George Inness, and Alfred H. Maurer. General correspondence also relates to her teaching job at Sarah Lawrence College and other courses taught; to various editing projects, including photo-editing Carl Sandburg's Poems of the Midwest and the planned book Art and Advertising; her work as a research consultant on the American Processional exhibition and book, and on other exhibitions; and her involvement in various art and social organization, as well as her participation in various conferences. General correspondence largely documents McCausland's tireless efforts to drum up work, and to fund (through various grants and fellowships) and carry out her many research and writing projects.

Correspondence from particular artists, including Arthur Dove, Louis Eilshemius, Marsden Hartley, Georgia O'Keeffe, and Alfred Stieglitz, was maintained by McCausland in files separate from general correspondence. Artist correspondence documents her relationships with these artists - particularly well-documented are her relationships with Dove and Stieglitz - and the artists' reactions to her reviews of their shows. Files of artist correspondence also include some of McCausland's own notes on her feelings about or relationship with particular artists.

Family correspondence consists almost entirely of letters and copies of letters from McCausland to her mother, Belle Noble McCausland. These seem to have originated from the scrapbook kept by McCausland's mother which can be found amongst personal papers.

See index for List of Notable Correspondents from Series 2.

General correspondence is arranged in rough chronological order. Within individual yearly files, McCausland often grouped together letters to and from a particular correspondent; this existing organization has for the most part been maintained. Selected artist correspondence and family correspondence are arranged in files at the end of the series. Correspondence can also be found amongst research and writing files. This series has been scanned in its entirety.

Box Folder
2 26 General Correspondence, 1923-1927
2 27 General Correspondence, 1928-1929
2 28 General Correspondence, 1930-1932
2 29 General Correspondence, 1933
2 30 General Correspondence, 1934
2 31 General Correspondence, 1935-1936
2 32 General Correspondence, 1937
2 33 General Correspondence, 1938
2 34-35 General Correspondence, 1939
(2 folders)
2 36-39 General Correspondence, 1940
(4 folders)
2 40-41 General Correspondence, 1941
(2 folders)
2 42-47 General Correspondence, 1942
(5 folders)
Box Folder
3 1-5 General Correspondence, 1943
(5 folders)
3 6-11 General Correspondence, 1944
(6 folders)
3 12-21 General Correspondence, 1945
(10 folders)
3 22-33 General Correspondence, 1946
(12 folders)
3 34-41 General Correspondence, 1947
(8 folders)
3 42-45 General Correspondence, 1948
(4 folders)
Box Folder
4 1-7 General Correspondence, 1949
(7 folders)
4 8-17 General Correspondence, 1950
(10 folders)
4 18-27 General Correspondence, 1951
(10 folders)
4 28-32 General Correspondence, 1952
(5 folders)
4 33-37 General Correspondence, 1953
(5 folders)
4 38-41 General Correspondence, 1954
(4 folders)
Box Folder
5 1-4 General Correspondence, 1955
(4 folders)
5 5-6 General Correspondence, 1956
(2 folders)
5 7 General Correspondence, 1957
5 8 General Correspondence, 1958
5 9 General Correspondence, 1959-1960
5 10 General Correspondence, undated
5 Artist Correspondence
5 11-12 Dove, Arthur, 1933-1938
(2 folders)
5 13 Eilshemius, Louis, 1935-1937
5 14 Enters, Angna, 1928-1935
5 15 Hartley, Marsden, 1939
5 16 O'Keeffe, Georgia, [1933]-1935
5 17-19 Stieglitz, Alfred, 1931-1938
(3 folders)
5 20 Various, 1937-1943
Includes letters from Alexander Calder, Howard Cook, Alice Decker, Rockwell Kent, Fernando Puma, Moses Soyer, Sylvia Wald, and Art Young.
5 21-23 Family Correspondence (Letters to Belle Noble McCausland), 1927-1935, 1943, 1948
(3 folders)

Series 3: General Writings, early 1930s-1954
(Boxes 5-6; 0.9 linear feet)

This series comprises some of McCausland's general writings apart from those related to specific research projects, including speeches and lectures, poems, and scattered essays and articles. Speeches and lectures include ones on art criticism and patronage, on the artist Marsden Hartley, and on various art topics given at various universities, conferences, meetings, and other events from 1940 to the mid-1950s. Poems most likely date from the 1930s and include manuscripts of individual poems and titled collections, which McCausland may have published on her own private press. Also found are some unpublished manuscripts, including two "dummy" articles written for a proposed magazine at the request of Bob Rogers and some material relating to a proposed book on silk screen, and a manuscript of an article on scientific photography by Willard D. Morgan, which may have been ghostwritten by McCausland.

General writings are arranged alphabetically. Related material can be found amongst research and writing files and correspondence.

This series has been scanned in its entirety.

Box Folder
5 24 "The Effect of Art on Freedom of Expression," 1941
5 25-27 Essays and Speeches on Art Criticism, 1946, undated
(3 folders)
5 28-29 Essays and Speeches on Patronage, 1945-1953
(2 folders)
5 30 Ghostwriting, undated
5 31-32 Miscellaneous, 1934-1946
(2 folders)
5 33 On the "Blue Menace," 1928
5 34-35 Poems, early 1930s-1950
(2 folders)
5 Poems, Manuscripts
5 36 No Returning (1), undated
5 37 Jungle (2), undated
5 38 Autumn Interlude (3), undated
5 39 Return to Life (4) undated
5 40 From September, 1935
5 41 "The Return of the Native" (Lecture on Marsden Hartley), 1952
5 42-44 "Roots of American Art," Drafts, 1953
(3 folders)
5 45-46 Speeches, Manuscripts, 1938-1940, undated
(2 folders)
5 47-49 Speeches, Manuscripts, 1945-1948
(3 folders)
5 50-52 Speeches, Notecards, 1940-1945
(3 folders)
Box Folder
6 1-2 Speeches, Notecards, 1945-1946?
(2 folders)
6 3-5 Speeches, Notecards, 1952-1954
(3 folders)
6 6-7 Unpublished Manuscripts, 1935-1947
(2 folders)
6 8 "Windward Feather," 1927, undated
6 9 Writings by Others, undated

Series 4: Alfred H. Maurer, 1851-1951, bulk 1948-1950
(Box 6-9; 3.7 linear feet)

Series consists of files relating to McCausland's research for the exhibition, "A. H. Maurer: 1868-1932" (Walker Art Center, September 11-October 16, 1949 and Whitney Museum of American Art, November 6-December 11, 1949), which she helped organize and for which she did the catalog, and her book, A. H. Maurer, which was published for the Walker Art Center by A. A. Wyn in 1951. Files consist of correspondence, drafts and manuscripts of the exhibition catalog and book, and extensive research material, including photographs of Maurer's paintings (organized according either to the year they were executed and to their subject matter), photographs of the artist, notes on his life and work (typically organized according to time period or period of execution), notes on his correspondence, and other material. Also found is some Maurer art work.

Correspondence consists of incoming and copies of outgoing letters. Correspondents include Walker Art Center staff, friends and family of Maurer contacted as part of McCausland's research (his sister Eugenia Maurer Fuerstenberg and his nephew Alfred S. Maurer, and former friends Fra Dana, Pierre Daura, Georgia O'Keeffe, and Grace Phillips, among others), publishers, museums, research institutions, and other instrumental figures, such as Hudson Walker and Lloyd Goodrich. The contents of many correspondence files are arranged in reverse chronological order.

The largest portion of the Maurer files are devoted to photographs of his paintings (not scanned). These seem to have been collected as part of an effort to record "about a thousand Maurers," which were photographed in small batches of four or six at a time. These photographs were then used, in conjunction with available documentation, to date Maurer's works based on style, and have not been scanned. Other photographs used in the research seem to have been copied from Maurer's friends and family members.

Files are arranged alphabetically. The photographs of works of art have not been scanned.

Box Folder
6 A. H. Maurer
6 10-11 First Draft, pp. 1-35, 1949
(2 folders)
6 12-13 First Draft, pp. 36-95, 1949
(2 folders)
6 14-15 First Draft, pp. 96-174, 1949
(2 folders)
6 16-17 First Draft, pp. 175-appendix, 1949
(2 folders)
6 18 Foreword, Draft, circa 1950
6 19 Prologue, Draft, circa 1950
6 20 Chapter 1, Draft, circa 1950
6 21 Chapter 2, Draft, circa 1950
6 22 Chapter 3, Draft, circa 1950
6 23 Chapter 4, Draft, circa 1950
6 24 Chapter 5, Draft, circa 1950
6 25 Chapter 6, Draft, circa 1950
6 26 Chapter 7, Draft, circa 1950
6 27 Chapter 8, Draft, circa 1950
6 28 Epilogue, Draft, circa 1950
6 29 Footnotes, circa 1950
6 30 Notes, Front of Book, 1948-1949
6 31 Notes, Corrections, circa 1950
6 32 Proofs and Miscellaneous, 1951
6 Art Work
6 33 Linoleum Cut Prints, 1924
6 34 Linoleum Cut Prints (Exhibition Announcements), 1927-1928
6 35 Linoleum Cut on Broadside by Sherwood Anderson, undated
6 36 Tempera Sketches, undated
6 37 Watercolor Sketch, undated
6 38 Captions for Illustrations, circa 1949
6 Catalog Essay
6 39 Notes, 1949
6 40 First Draft, 1949
6 41 Second Draft, 1949
6 42 Third Draft, 1949
6 43 Clippings on Maurer, 1924, 1934
6 44 Copies of Maurer's Medical Records (See also General and Medical Research), circa 1948
6 45-47 Copy for Catalog with Letters and Memos, 1949
(3 folders)
6 Correspondence
6 48 A-C, 1948-1949
6 49-50 Catalog, 1949
(2 folders)
6 51 D, 1948-1949
6 52 Dana, Fra, 1948
6 53-54 Defenbacher, Dan (Walker Art Center), 1948-1949
(2 folders)
6 55 E, 1948
6 56 Friedman, William (Walker Art Center), 1949
6 57-58 Fuerstenberg, Eugenia Maurer, 1948-1949
(2 folders)
6 59 G, 1948
6 60 Geske, Norman A. (Walker Art Center), 1948-1949
6 61 H, 1948-1949
6 62 L-M, 1948-1951
6 63 Maurer Letters in Gertrude Stein Collection at Yale University, 1948-1949
Includes some correspondence with Alice B. Toklas.
6 64 N, 1949
6 65 O'Keeffe, Georgia, 1948
6 66 P, 1948
6 67 Phillips, Grace A., 1948-1949
6 68 Photographs, 1948
Box Folder
7 1 R-T, 1931, 1948-1951
Includes letter to Maurer from Jack Gage Stark dated 1931.
7 2 U-V, 1948-1949
7 3 W, 1948-1949
7 4 Walker, Hudson, 1949
7 5 Whitney Museum of American Art, 1948-1949
Includes correspondence with Lloyd Goodrich regarding the manuscript for the Maurer biography.
7 6 Y-Z, 1948
7 7-10 Correspondence and Notes, 1948-1953
(4 folders)
7 11 Correspondence and Notes, "Leads," 1945, 1948
7 12-13 Exhibition Catalogs, Correspondence, and Clippings (from Eugenia Maurer Fuerstenberg), 1910-1937
(2 folders)
7 14 Expenses, 1948
7 15 Foreword to Maurer Catalog for Buchholz Gallery Exhibition, 1943
7 16 General and Medical Research, 1948
7 17-20 Interviews, 1948-1949
(4 folders)
7 21 Invitation List, 1949
7 22 Maurer, Louis, 1932
7 23 Maurers in the Stieglitz Collection, 1948
7 Notes
7 24-26 Notes, 1948-1949
(3 folders)
7 27 Notes, 1951
7 28 Esthetics, 1921, 1928, 1948
7 29 New York Public Library, circa 1948-1949
7 30 Paintings, Executed 1890-1940, 1948-1949
7 31 "Flowers," circa 1912, 1948-1949
7 Photographs, Personal
7 32 Maurer, Louis,
7 33 Memorabilia, undated
7 34 Miscellaneous, 1923, undated
7 35 Paris, 1948
7 36 Portraits, 1948
7 37-38 Shady Brook, 1948
(2 folders)
7 39 Studio, 1948
7 40 Photographs of Works of Art, Portraits by Other Artists, undated
(Not scanned)
7 41 Photographs, Unsorted, [1948]
7 42-50 Photographs of Paintings, [1948]
(9 folders; not scanned)
7 Photographs of Paintings
(Not scanned)
7 51 Executed 1890-1900, [1948-1949]
7 52-53 Executed 1890-circa 1908, [1948-1949]
(2 folders)
7 54 Executed 1901-1902, [1948-1949]
7 55 Executed 1903-1904, [1948-1949]
7 56 Executed 1905, [1948-1949]
7 57 Executed circa 1908-1909, [1948-1949]
7 58 Executed 1915-1919, [1948-1949]
Box Folder
8 1 Executed circa 1920, [1948-1949]
8 2 Executed 1920-1921, [1948-1949]
8 3 Executed 1921-1923, [1948-1949]
8 4 Executed ante 1924, [1948-1949]
8 5 Executed 1924, [1948-1949]
8 6-7 Executed 1925, [1948-1949]
(2 folders)
8 8 Executed 1926, [1948-1949]
8 9 Executed 1927, [1948-1949]
8 10-11 Executed circa 1927-1928, [1948-1949]
8 12 Executed 1928-1929, [1948-1949]
(2 folders)
8 13 Executed 1930, [1948-1949]
8 14 Executed 1930-1932, [1948-1949]
8 15 undated, [1948-1949]
8 16 Abstract Heads, [1948-1949]
8 17 "Double Paintings," [1948-1949]
8 18-19 Flowers, [1948-1949]
8 20 Flowers, undated, [1948-1949]
8 21-24 Heads, [1948-1949]
(4 folders)
8 25-27 Heads, Early, [1948-1949]
(3 folders)
8 28 Heads, Early (Duplicates for Bertha Schaeffer), 1948
8 29-32 Landscapes, [1948-1949]
(4 folders)
8 33-35 Miscellaneous, [1948-1949]
(3 folders)
8 36 "Paris," [1948-1949]
Box Folder
9 1 [Prints for Illustrations?], [1948-1949]
9 2 Self-Portrait, Executed circa 1904, [1948-1949]
9 3 "Sports," [1948-1949]
9 4-9 Still Lifes, [1948-1949]
(6 folders)
9 10 "Technical Appendix," [1948-1949]
9 11 Two Girls, [1948-1949]
9 12 Two Heads, [1948-1949]
9 13 "The Wrestlers," 1949
9 14-16 Photographs of Paintings File, 1948-1949
(3 folders; not scanned)
9 Photographs of Paintings File
9 17-18 Correspondence and Notes, 1948-1949
(2 folders)
9 19-20 Correx and Notes, 1948-1949
(2 folders)
9 21 List of Works by Louis Maurer, undated
9 22 Self-Portrait, 1948
9 23 Self-Portrait (owned by Paul Shaskan), 1943, 1948
9 24 Photographs of Prints and Drawings, 1948
(Not scanned)
9 25 Photographs Used for Dating Works, [1948-1949]
(Not scanned)
9 26-29 Plan for Maurer Exhibition, 1948
(4 folders)
9 Research
9 30 Period of 1933-1936, [1948-1949]
9 31-32 Period of 1937-1947, [1948-1949]
(2 folders)
9 33 Research Material, Memorabilia, [1948-1949]
9 34 Research Material, Paintings, 1948-1949
9 Research Material, Paintings
9 35-36 Executed 1905-1925, 1908, 1948-1949
(2 folders)
9 37-38 Executed 1925-1928, 1948-1949
(2 folders)
9 39-40 Executed 1928-1932, and undated, 1948-1949
(2 folders)
9 41 Research Material, Portraits, [1948-1949]
9 42-43 Research Notes, 1948
(2 folders)
9 Research Notes
9 44-45 Period of 1832-1900, 1851, 1933-1934, 1948-1949
(2 folders)
9 46-47 Period of 1901-1907, 1948-1949
(2 folders)
9 48-49 Period of 1908-1923, 1908-1909, 1948-1949
(2 folders)
9 50-51 Period of 1924-1930, 1924-1930, 1948-1949
(2 folders)
9 52 Period of 1931, 1931, 1948-1949
9 53 Period of 1932, 1932, 1948-1949
9 Research Notes, Maurer Correspondence
9 54 Period of 1899 and 1908-1923, 1899, 1908-1910, 1948-1949
9 55 Period of 1924-1930, 1948-1949
9 56 Period of 1931-1932, 1948-1949
9 57 Reviews of Exhibition and Book, 1949, 1951
9 58 System of Dating Works, 1949

Series 5: American Processional, 1949-1951
(Box 10-11; 1.8 linear feet)

This series consists of files relating to McCausland's work as a research consultant on the exhibition, "American Processional, 1492-1900" at the Corcoran Gallery of Art, Washington, D.C., July 8-December 17, 1950, and as editor of the accompanying book. The exhibit was described as "a large exhibition of American life and history in pictures" and was planned in cooperation with the National Capital Sesquicentennial Commission "to commemorate the establishment of the permanent seat of the Federal Government in Washington in 1850." The book included two hundred illustrations of work from the exhibition with text comprised of "quotations from contemporaries of the events shown" and writing by McCausland. (These descriptions are drawn from a letter from McCausland to Norman Corwin dated June 20, 1950.)

Files include research notes organized according to time period of the work of art, manuscripts and proofs of the book, catalog material, notes on sources and permissions, correspondence, and other research and publicity material.

A large amount of correspondence relating to the American Processional can also be found in the General Correspondence series. A watercolor by Frank Buffmire documenting McCausland's contributions to the American Processional in a humorous fashion can be found amongst art work.

Files are arranged in alphabetical order. This series is scanned in its entirety, except for galley and page proofs of the book.

Box Folder
10 American Processional
10 1 Alternate Cover, [1950]
10 2-11 Editor's Copy, 1950
(10 folders)
10 12-14 End of the Book, 1950
(3 folders)
10 15-20 Galley Proofs, 1950
(6 folders; not scanned)
10 21 Page Proofs, 1950
(Not scanned)
10 22 Photograph Lists, 1950
10 23 Bibliography, [1950]
10 24 Catalog, 1950
10 25 Catalog, Chronology, 1949-1950
10 26 Catalog Titles, 1950
10 27-29 Correspondence, 1950
(3 folders)
10 30 [Correspondence], 1950
10 31 Correspondence and Miscellaneous, 1950
10 32 Folk Songs, [1950]
10 33 Installation, 1950
10 34 [Lacunae and Sources and Permissions], [1950]
10 35-38 Laurel Printing Company, 1950
(4 folders)
10 39-46 Laurel Printing Company, Proofs, 1950
(8 folders; not scanned)
Box Folder
11 1 Memos , 1950
11 2 Miscellaneous, 1950
11 3-4 National Capital Sesquicentennial Commission, 1950-1951
(2 folders)
11 5 National Capital Sesquicentennial Commission, Catalog, 1949-1950
11 6-7 Notebook, [1950]
(2 folders)
11 8 Notes, 1949-1950
11 Notes
11 9 Period of 1492-1643, [1950]
11 10 Period of 1645-1736, [1950]
11 11 Period of 1737-1774, [1950]
11 12 Period of 1775-1776, [1950]
11 13 Period of 1777-1799, [1950]
11 14 Period of 1825-1860, [1950]
11 15 Period of 1860-Summer 1863, [1950]
11 16 Period of Fall 1863-1865, [1950]
11 17 Period of 1866-1900, [1950]
11 18 Emblems and Insignias, [1950]
11 19 Miscellaneous, [1950]
11 20 Printer, 1950
11 21 Publicity for Opening, 1950
11 22-24 Research, 1950
(3 folders)
11 25 Review, [1950]
11 26 Slogans, [1950]
11 27 Sources and Permission, [1950]
11 28 Sources and Permissions - Period of 1861-1900, [1950]
11 29-30 Wall Labels, 1950
(2 folders)

Series 6: Marsden Hartley, 1900-1964, bulk 1944-1964
(Boxes 11-21, OV 37; 10 linear feet)

Series consists of extensive files relating to a major research project on the artist Marsden Hartley begun by the American Art Research Council around 1944 and turned over to McCausland by Hudson Walker in the early 1950s. The project involved a planned critical biography, envisaged as a companion volume to McCausland's biography of Maurer, and a projected catalogue raisonne of Hartley's paintings, neither of which was ever completed. Related projects included an introductory monograph on Hartley written by McCausland, focusing on the Hudson D. Walker collection of more than 150 Hartleys on long-term loan to the University of Minnesota, which was published in 1952; and a traveling exibition, organized by the Stedelijk Museum Amsterdam and American Federation of Arts, which took place from 1960 to 1962 and for which McCausland did the catalog.

Some material may have been created and collected by the American Art Research Council, particularly portions of the catalogue raisonne files and other research files. McCausland seems to have incorporated this material into her own files and/or used and reorganized it as necessary in conjunction with creating and collecting material in her own files.

The Marsden Hartley series is arranged into six subseries:

The bulk of this series has been scanned, including photographs of works of art, except when obviously duplicate. Many of the photographs of works of art in this series include annotations and research notes on the reverse or relate so closely to the research notes that the decision was made to scan them. Identyfing the duplicate photographs was difficult, thus many have been scanned. The card files of McCauslands indexes have not been scanned, nor were auction catalogs. In many cases, only the covers and title pages of publications were scanned.

6.1: Critical Biography Files, 1911-1964, bulk 1953-1964

Subseries consists of files relating to McCausland's work researching and writing a planned critical biography of the artist Marsden Hartley. McCausland began work on the biography sometime after her monograph on Hartley was published in 1952. She worked on the Hartley biography for several years off and on up until her death in 1965, though it was never completed. Files are primarily comprised of notes on Hartley's life and work (organized according to time period), as well as some research material, including typescripts and some originals of Hartley's letters, exhibition catalogs and other printed material, and scattered papers belonging to Hudson Walker and relating to Hartley. Also found are an outline and a manuscript of Chapters 1-3 of the planned biography, and some notes and research material on exhibitions, memorabilia, and portaits.

Most of the material is undated, yet it can be reasonably assumed that it was collected and created during the time period from 1953 to 1964, roughly when McCausland was working on the biography.

Files are arranged in alphabetical order. Related material can be found in correspondence and general files and other research files within this series.

This material was most likely originally kept in notebooks, but was removed from them at some previous point in time, perhaps during preliminary processing.

Box Folder
11 31 Exhibitions, undated
11 32-34 Manuscript, [circa 1953-1964]
(3 folders)
11 35 Memorabilia, undated
11 Notes
11 36-37 Period of 1877-1892, [circa 1953-1964]
(2 folders)
11 38-41 Period of 1893-1908, [circa 1953-1964]
(4 folders)
Box Folder
12 1 Period of 1908, [circa 1953-1964]
12 2-4 Period of 1909, [circa 1953-1964]
(3 folders)
12 5 Period of 1910, [circa 1953-1964]
12 6 Period of 1911, 1911, [circa 1953-1964]
12 7-10 Period of 1912, [circa 1953-1964]
(4 folders)
12 11-12 Period of 1913, [circa 1953-1964]
(2 folders)
12 13-14 Period of 1914, [circa 1953-1964]
(2 folders)
12 15 Period of 1915, 1915, [circa 1953-1964]
12 16 Period of 1916, 1916, [circa 1953-1964]
12 17 Period of 1917, 1917, [circa 1953-1964]
12 18-20 Period of 1918, [circa 1953-1964]
(3 folders)
12 21-22 Period of 1919, [circa 1953-1964]
(2 folders)
12 23-24 Period of 1920, 1920, [circa 1953-1964]
(2 folders)
12 25 Period of 1921, [circa 1953-1964]
12 26 Period of 1922, [circa 1953-1964]
12 27-28 Period of 1923, [circa 1953-1964]
(2 folders)
12 29 Period of 1924, [circa 1953-1964]
12 30 Period of 1925, [circa 1953-1964]
12 31 Period of 1926, [circa 1953-1964]
12 32 Period of 1927, [circa 1953-1964]
12 33 Period of 1928, [circa 1953-1964]
12 34 Period of 1929, [circa 1953-1964]
12 35 Period of 1930, [circa 1953-1964]
12 36-38 Period of 1931, [circa 1953-1964]
(3 folders)
12 39 Period of 1932, [circa 1953-1964]
12 40-42 Period of 1933, [circa 1953-1964]
(3 folders)
12 43 Period of 1934, [circa 1953-1964]
12 44 Period of 1935, [circa 1953-1964]
Box Folder
13 1-2 Period of 1936, [circa 1953-1964]
(2 folders)
13 3-4 Period of 1937, [circa 1953-1964]
(2 folders)
13 5 Period of 1938, [circa 1953-1964]
13 6-7 Period of 1939, 1939-1940, [circa 1953-1964]
(2 folders)
13 8 Period of 1940, 1940, [circa 1953-1964]
13 9 Period of 1941, 1941, [circa 1953-1964]
13 10 Period of 1942, 1942, [circa 1953-1964]
13 11-13 Period of 1943, 1943-1946, [circa 1953-1964]
(3 folders)
13 14 Outline, [circa 1953-1964]
13 15-18 Portraits, 1927, 1944-1959
(4 folders; Oversized item in OV 37)
Box
OV 37 Oversize, Portrait, 1927
(Scanned with Box 13, F16)

6.2: Catalogue Raisonne Files, circa 1944-1964

Subseries consists of extensive files relating to the planned published catalogue raisonne of Hartley paintings. Files were probably started circa 1944 by the American Art Research Council and were eventually taken over, used, and added to by McCausland up until the time before her death. Files consist of photographs of and research forms for individual Hartley paintings, as well as some scattered notes and printed material.

Files are arranged chronologically according to the year of execution of the artwork, and then according to subject type and/or technique of painting. The dates specified in the brackets represent the probable creation or collation date of the file. Almost all of the photographs of works of art have been scanned in this subseries due to the many annotations and similar versions of paintings. It is impossible to determine with certainity which photographs may be duplicates, so all were scanned.

Box Folder
13 Research Files, 1900
13 19 Nudes and Figures, [circa 1944-1964]
13 Research Files, before 1908
13 20 Landscapes, [circa 1944-1964]
13 21 "Walt Whitman's House," [circa 1944-1964]
13 Research Files, 1908
13 22 Drawings, [circa 1944-1964]
13 Landscapes
13 23 Drawings, [circa 1944-1964]
13 24-27 Oils, [circa 1944-1964]
(4 folders)
13 28 Watercolors, Pastels, Prints, [circa 1944-1964]
13 29-31 Nudes and Figures - Drawings, [circa 1944-1964]
(3 folders)
13 32 Watercolors, Pastels, and Prints, [circa 1944-1964]
13 Research Files, 1909
13 33 Drawings, [circa 1944-1964]
13 Landscapes
13 34 Drawings, [circa 1944-1964]
13 35-37 Oils, [circa 1944-1964]
(3 folders)
13 Research Files, 1910
13 Still Life
13 38 Oils, [circa 1944-1964]
13 39 Watercolors, Pastels, Prints, [circa 1944-1964]
13 Research Files, 1911
13 Still Life
13 40-41 Oils, [circa 1944-1964]
(2 folders)
13 42 Watercolors, Pastels, Prints, [circa 1944-1964]
13 43 Watercolors, Pastels, Prints, [circa 1944-1964]
13 Research Files, 1912
13 Still Life
13 44 Drawings, [circa 1944-1964]
13 45-46 Oils, [circa 1944-1964]
13 47 Watercolors, Pastels, Prints, [circa 1944-1964]
13 Research Files, 1912/1913
13 48-49 Still Life - Oils, [circa 1944-1964]
(2 folders)
Box Folder
14 Research Files, 1913
14 1-2 Still Life - Oils, [circa 1944-1964]
(2 folders)
14 Research Files, 1914
14 3 Still Life - Oils, [circa 1944-1964]
14 Research Files, 1914-1915
14 4 Still Life - Oils, [circa 1944-1964]
14 5 "Indian Fantasy," 1960
14 Research Files, 1915
14 6 Still Life - Oils, [circa 1944-1964]
14 Research Files, 1916
14 7-9 Still Life - Oils, [circa 1944-1964]
(3 folders)
14 Research Files, 1917
14 10-11 Still Life - Oils, [circa 1944-1964]
(2 folders)
14 Research Files, 1918
14 12-13 Landscapes - Watercolors, Pastels, Prints, [circa 1944-1964]
(2 folders)
14 Still Life
14 14 Oils, 1960
14 15 Watercolors, Pastels, Prints, [circa 1944-1964]
14 Research Files, 1919
14 16 Landscapes - Watercolors, Pastels, Prints, [circa 1944-1964]
14 Still Life
14 17 Oils, [circa 1944-1964]
14 18 Watercolors, Pastels, Prints, [circa 1944-1964]
14 Research Files, 1920
14 19-20 Landscapes - Oils, [circa 1944-1964]
(2 folders)
14 21-23 Still Life, [circa 1944-1964]
(3 folders)
14 Research Files, 1922
14 Nudes and Figures
14 24 Drawings, [circa 1944-1964]
14 25 Oils, [circa 1944-1964]
14 26 Watercolors, Pastels, Prints, [circa 1944-1964]
14 27 Still Life - Drawings, [circa 1944-1964]
14 Research Files, 1922-1923
14 28-30 Landscapes - Oils, [circa 1944-1964]
(3 folders)
14 Still Life
14 31 Oils, [circa 1944-1964]
14 32 Watercolors, Pastels, Prints, [circa 1944-1964]
14 Research Files, 1923
14 Still Life
14 33 Drawings, [circa 1944-1964]
14 34 Oils, [circa 1944-1964]
14 35-36 Watercolors, Pastels, Prints, [circa 1944-1964]
(2 folders)
14 Research Files, 1924
14 37 Still Life - Oils, [circa 1944-1964]
14 Research Files, 1924-1925
14 38 Still Life - Oils, [circa 1944-1964]
14 Research Files, 1925
14 39 Landscape - Oils, [circa 1944-1964]
14 40 Still Life - Oils, [circa 1944-1964]
14 Research Files, 1925-1926
14 41 Landscapes - Oils, [circa 1944-1964]
14 Research Files, 1926
14 42 Landscape - Drawings, [circa 1944-1964]
14 Still Life
14 43 Drawings, 1953
14 44 Oils, [circa 1944-1964]
14 Research Files, 1927
14 Landscapes
14 45-46 Drawings, [circa 1944-1964]
(2 folders)
14 47 Oils, [circa 1944-1964]
14 Still Life
14 48 Drawings, [circa 1944-1964]
14 49 Watercolors, Pastels, Prints, [1944-1965
14 Research Files, 1928
14 50 Still Life - Oils, [circa 1944-1964]
14 Research Files, 1929
14 Still Life
14 51 Drawings, [circa 1944-1964]
14 52-54 Oils, [circa 1944-1964]
(3 folders)
Box Folder
15 Research Files, 1930
15 1-2 Landscapes - Oils, [circa 1944-1964]
(2 folders)
15 Research Files, 1931
15 Landscapes
15 3 Drawings, [circa 1944-1964]
15 4 Oils, [circa 1944-1964]
15 5 Watercolors, Pastels, Prints, [circa 1944-1964]
15 6 Still Life - Oils, [1944-1965
15 Research Files, 1932
15 7 Landscapes - Oils, [circa 1944-1964]
(Not scanned in entirety)
15 8 Still Life - Oils, [circa 1944-1964]
15 Research Files, 1932/1933
15 9 Landscapes - Oils, [circa 1944-1964]
15 10 Still Life - Oils, [circa 1944-1964]
15 Research Files, 1933
15 Landscapes
15 11 Drawings, [circa 1944-1964]
15 12 Oils, [circa 1944-1964]
15 13 Watercolors, Pastels, Prints, [circa 1944-1964]
15 14 Still Life - Oils, [circa 1944-1964]
15 Research Files, 1933/1934
15 15 Landscapes - Oils, [circa 1944-1964]
15 Research Files, 1934
15 Landscapes
15 16 Drawings, [circa 1944-1964]
15 17-18 Oils, [circa 1944-1964]
(2 folders)
15 19 Watercolors, Pastels, Prints, [circa 1944-1964]
15 20 Still Life - Oils, [circa 1944-1964]
15 Research Files, 1935
15 21 Still Life - Watercolors, Pastels, Prints, [circa 1944-1964]
15 22 Landscapes - Drawings, [circa 1944-1964]
15 Research Files, 1935/1936
15 23 Still Life - Oils, [circa 1944-1964]
15 Research Files, 1936
15 Landscape
15 24 Drawings, [circa 1944-1964]
15 25-26 Oils, [1944-1965
(2 folders)
15 27 Nudes and Figures - Drawings, [circa 1944-1964]
15 Still Life
15 28 Drawings, [circa 1944-1964]
15 29-30 Oils, [circa 1944-1964]
(2 folders)
15 31 Watercolors, Pastels, Prints, [circa 1944-1964]
15 Research Files, 1937
15 Landscapes
15 32 Drawings, [circa 1944-1964]
15 33-35 Oils, [circa 1944-1964]
(3 folders)
15 36 Still Life - Oils, [circa 1944-1964]
15 Research Files, 1938
15 Landscapes
15 37 Drawings, [circa 1944-1964]
15 38-40 Oils, [circa 1944-1964]
(3 folders)
15 Nudes and Figures
15 41 Drawings, [circa 1944-1964]
15 42-44 Oils, [circa 1944-1964]
(3 folders)
15 45 Still Life - Oils, [circa 1944-1964]
15 Research Files, 1939
15 Landscapes
15 46-47 Drawings, [circa 1944-1964]
(2 folders)
15 48 Oils, [circa 1944-1964]
15 Nudes and Figures
15 49 Drawings, 1953
15 50 Oils, [circa 1944-1964]
15 51 Still Life - Oils, [circa 1944-1964]
15 Research Files, 1939/1940
15 52-53 Landscapes - Oils, [circa 1944-1964]
(2 folders)
15 54 Nudes and Figures - Oils, [circa 1944-1964]
15 Research Files, 1940
15 Landscapes
15 55-56 Drawings, [circa 1944-1964]
(2 folders)
15 57 Oils, [circa 1944-1964]
15 Nudes and Figures
15 58 Drawings, [circa 1944-1964]
15 59 Oils, [circa 1944-1964]
15 60 Watercolors, Pastels, Prints, [circa 1944-1964]
15 Still Life
15 61 Drawings, [circa 1944-1964]
15 62 Oils, 1951
15 63 Watercolors, Pastels, Prints, [circa 1944-1964]
Box Folder
16 Research Files, 1940/1941
16 1 Landscapes - Oils, [circa 1944-1964]
16 2 Nudes and Figures - Oils, [circa 1944-1964]
16 3 Still Life - Oils, [circa 1944-1964]
16 Research Files, 1941
16 4 Landscapes - Oils, [circa 1944-1964]
16 5 Nudes and Figures - Oils, [circa 1944-1964]
16 6-7 Still Life - Oils, [circa 1944-1964]
(2 folders)
16 Research Files, 1942
16 8 Landscapes - Oils, [circa 1944-1964]
16 Nudes and Figures
16 9 Drawings, [circa 1944-1964]
16 10 Oils, [circa 1944-1964]
16 11-12 Still Life - Oils, [circa 1944-1964]
(2 folders)
16 Research Files, 1943
16 Nudes and Figures
16 13 Drawings, [circa 1944-1964]
16 14 Oils, 1951
16 15 Still Life - Oils, [circa 1944-1964]

6.3: Card Files, undated
(Not scanned)

Subseries consists of McCausland's card files for her Hartley study. Card files include indexes to titles and owners of Hartley works, as well as to the artist's correspondence, exhibitions, and events in his life. The card files have not been scanned.

Box Folder
16 16 Index to Titles of Marsden Hartley Works, undated
(Not scanned)
16 17 Index to Marsden Hartley Correspondence, undated
(Not scanned)
16 18 Index to Marsden Hartley Exhibitions, undated
(Not scanned)
16 19 Index to Owners of Marsden Hartley Works, undated
(Not scanned)
16 20 Index to Events in Life of Marsden Hartley, undated
(Not scanned)

6.4: Correspondence and General Files, 1900-1964, bulk 1950-1964

Subseries consists of correspondence and other files concerning more technical or business-related aspects of McCausland's research, including requests for information, business arrangements with University of Minnesota, permissions, etc. Correspondence also concerns research on Hartley's time in Garmisch-Partenkirchen and aspects of his life and work (including his relationship and correspondence with Rebecca S. James); the Hartley exhibition organized by the Stedelijk Museum Amsterdam and American Federation of Arts (1960-1962); the Life Magazine article on Hartley, as well as several articles by McCausland (including a reprint of a speech on Hartley published in Art in America and a piece entitled, "A Field Trip in Hartley Country," for which she sought a publisher); and McCausland's consulting on Hartley forgeries. Files also include some originals and typescript copies of Hartley's correspondence to Richard Tweety, dating from 1900-1901 (which were given to the American Art Research Council in 1945), and Hudson Walker, dating from 1937-1943, as well as excerpts and typescript copies of Hartley's correspondence to various other individuals; and some material on Hartley borrowed from Hudson Walker's personal art file.

Related correspondence can also be found amongst general correspondence. Files are arranged in alphabetical order. Almost all of the material in this subseries has been scanned, except for duplicate materials and the photographs of works of art. Only the cover and title pages for a few of the publications have been scanned.

Box Folder
16 21 A, 1953-1961
16 22 B, 1950-1952, 1959-1962
16 23-24 Bibliography, 1937-1954, undated
(2 folders)
16 25 D, 1961-1962, undated
16 26 E, 1951, 1960
16 27 Excerpts from Marsden Hartley Correspondence, undated
16 28 F, 1951, 1960
16 29 "A Field Trip in the Hartley Country" (1960), 1962
16 30 Forgeries, 1961-1963
16 31 G, 1950, 1960
16 32 Gallup, Donald (Yale University Library), 1952, 1959-1960
16 33 H, 1951-1960
16 34-35 Haering, Ilene (re: Garmisch-Partenkirchen), 1958-1959
(2 folders)
16 Hartley, Marsden
16 36 Letters to Mathilde Rice (1925-1928), undated
16 37-38 Letters to Richard Tweety, 1900-1901
(2 folders)
16 39-43 Letters to Hudson Walker, 1937-1943
(5 folders)
Box Folder
17 1-2 Letters to Hudson Walker, 1940-1941
(2 folders)
17 3 Hartley and Stieglitz, 1951
17 4 Isaacson, Philip, 1960-1962
17 5 I-J, 1960
17 6-7 James, Rebecca S., 1951-1954
(2 folders)
17 8 K, 1959
17 9 Kuntz, Adelaide, 1951-1953
17 10 L, 1951, 1960-1961
17 11 Life Magazine, 1952
17 12-13 Lipman, Jean (Art in America), 1947, 1952-1953, 1957
(2 folders)
17 14 Lowenthal, Mr. and Mrs. Milton, 1952-1953
17 15 M, 1951-1960
17 16 Marsden Hartley Estate, 1952, 1959
17 17 N, 1961
17 18-19 New York Public Library, undated
(2 folders)
17 20 O, 1958, 1960
17 21 P, 1951-1953, 1960-1961
17 22 Permission, 1959-1960
17 23-26 Photographs of Works of Art, 1962-1963, undated
(4 folders; not scanned)
17 27 Photographs of Works of Art, Correspondence, 1951
17 28 Portraits of Marsden Hartley, undated
17 29-30 Printed Material, 1961-1964
(2 folders)
17 31 Progress Report, 1953
17 32 R, 1951-1960
17 33 Research Notes, 1960-1962, undated
17 34 S, 1951-1952
17 35 Sprinchorn, Carl, 1951-1962
17 36-37 Stedelijk Museum Amsterdam, 1960-1962
(2 folders)
17 38 T, 1953-1962
17 39 U, 1961
17 University of Minnesota
17 40 Arnason, H. Harvard, 1953
17 41 Contracts, 1951-1963
17 42 Miscellaneous, 1945, 1951-1952, 1959
(Partially scanned)
17 43 Slides, 1952
17 44-45 University Gallery, 1951-1953, 1957
(2 folders)
17 46-49 University Press, 1951-1953
(4 folders)
17 50-51 Wiley, Malcolm, 1950-1964
(2 folders)
17 52 University of Nebraska, 1960, 1964
17 53 University of Texas, 1961-1963
17 54 V, 1960-1961
17 55 W, 1950-1961
17 Walker, Hudson
17 56 Correspondence, 1950-1961
17 57 "Marsden Hartley, The Painter," undated
17 58-60 Personal Art File(?), 1943-1951
17 61 Whitney Museum of American Art, 1947, 1952
17 62 Worcester Art Museum, 1954, 1959-1960
17 63 Yale University Art Gallery, 1950, 1953, 1960

6.5: Other Research Files, 1921-1962, bulk 1944-1962

Files found here substantively relate to McCausland's research on Hartley. Included are files on a Hartley bibliography that include writings by others about Hartley and copies of Hartley's correspondence from other research repositories. There are also files on various research topics, such as chronology and exhibitions, Hartley correspondence, dating and style of Hartley works, and iconography of Hartley's "Military Series"; research forms for the Hartley paintings in the Hudson Walker Collection on long-term loan to the University of Minnesota; and various "working" files of unsorted material meant to be entered on forms, filed, or returned. Files also include photographs of works of art (many not scanned); writings, including a piece on Georgia O'Keeffe and possibly other scattered writings by Hartley and a piece "Hartley Fragments" by McCausland; and some notes on the manuscript of the biography.

Files are arranged alphabetically. This series has been scanned in its entirety, except for photostat copies of material from other repositories, duplicates, photographs of works of art, entire issues of magazines, and slides. In addition, only the covers, title pages, and relevant pages from many of the publications have been scanned.

Box Folder
17 64 Alfred Stieglitz Correspondence (copied from Yale University Library), 1950s
(Not scanned)
17 65-67 Armory Show, 1937-1938, 1946, 1950s
(3 folders)
17 68 Bibliography, 1952
17 Bibliography Research
17 69 Period of 1877-1922, [1950s]
17 70 Period of 1923-1929, 1929, [1950s]
17 71 Period of 1930-1934, 1932, [1950s]
Box Folder
18 1 Period of 1937, [1950s]
18 2 Period of 1938, 1938, [1950s]
18 3 Period of 1939, 1939, [1950s]
18 4 Period of 1940, 1940, [1950s]
18 5 Period of 1941, 1941, [1950s]
18 6 Period of 1942, 1942, [1950s]
18 7 Period of 1943, 1943, [1950s]
18 8 Period of 1944, 1944, [1950s]
18 9 Period of 1945, 1945, [1950s]
18 10 Period of 1946, 1946, [1950s]
18 11 Period of 1947, 1947, [1950s]
18 12 Period of 1948, 1948, [1950s]
18 13 Period of 1949-1951, 1949, [1950s]
18 14 Period of 1952, [1950s]
18 15 Period of 1953, 1950s
18 16-18 Miscellaneous, 1952-1960
(3 folders)
18 19-20 Miscellaneous Notes, 1960, undated
(2 folders)
18 21 New York Public Library, undated
18 22 On Microfilm, undated
18 23 Chronology and Exhibitions (Notebook for Card Index Files), undated
18 24-25 Exhibitions, 1921, 1944-1962
(2 folders)
18 26-27 Hartley Catalog, 1951-1954
(2 folders)
18 28 Jacques Lipchitz Correspondence, 1948
18 29 Microfilm, Marsden Hartley Correspondence (1928-1942), circa 1945
(Not scanned)
18 30 Miscellaneous, 1951-1954
(Not scanned in entirety)
18 31 Miscellaneous, undated
(Not scanned in entirety)
18 32 Notes, undated
18 33 Notes, W. Joseph Fulton, undated
18 34 Notes, "Study for People," 1953, undated
18 35 Notes, Things to Do (?), 1951-1953
18 36 Notes on Dating and Style, 1950-1953, undated
18 37 Notes on Iconography of Hartley's "Military Series," [1950s]
18 38 Notes on Manuscript of Biography, Chapters 2-3, 1959, undated
18 39 Photographs of Hartley Works Held by Metropolitan Museum of Art, 1958
(Not scanned)
18 40 Photographs of Works of Art, 1953-1959, undated
(Not scanned)
18 41 Photographs of Works of Art, Various Artists, undated
(Not scanned)
18 42 Prices of Hartley Paintings, 1940-1944, undated
18 43 Printed Material, Magazines, 1953
(Not scanned)
18 44 Printed Material, Magazines, 1962
(Not scanned)
Box Folder
19 1 Problems, undated
19 2 "Problems and Methods of Study," Notes on Lecture, 1953
19 3 Research Forms, undated
19 4-5 Rosenberg, 1944-1952, undated
(2 folders)
19 6 Slides, undated
(Not scanned)
19 7 Tabulation of Art Work, 1953
19 8-10 To Be Entered on Forms, 1951-1952, undated
(3 folders)
19 To Be Filed
19 11 Correspondence, 1951-1952
19 12 Notes on Marsden Hartley Correspondence, 1945, undated
19 13-15 Research Material, 1951-1958, undated
(3 folders)
19 16 To Be Returned, 1945
19 17-18 Unfinished Business (American Art Research Council), 1945-1950, 1958
(2 folders)
19 19 "The University Set of Research Forms of the Hartleys in the Collection of Mr. and Mrs. Hudson Walker," 1951, 1953
19 20 Writing by Hartley, "Georgia O'Keeffe," undated
19 21 Writings by Hartley (?), undated
19 22 Writing by McCausland, "Hartley Fragments," undated

6.6: Interviews, 1959-1960

Subseries consists of tapes and transcripts of two interviews about Marsden Hartley. One is a discussion of the artist by Hudson Walker, McCausland, and Mary Bartlett Cowdrey conducted on February 2, 1959. The other is an interview of the artist Jacques Lipchitz by McCausland and Cowdrey about his friendship with Hartley, conducted on February 20, 1960.

Box Folder
19 Marsden Hartley Discussed by Hudson Walker, Elizabeth McCausland, and Mary Bartlett Cowdrey
19 23-27 Reel-to-Reel Tapes, 1959
(6 folders; not scanned)
19 28-30 Transcripts, 1959
(3 folders)
19 Jacques Lipchitz Interviewed by Elizabeth McCausland and Mary Bartlett Cowdrey
19 31 Reel-to-Reel Tape (See Box 19, F27), 1960
(Not scanned)
19 32 Transcripts, 1960

6.7: Auction Catalogs, 1905-1963, bulk 1905-1929
(Not scanned)

Subseries consists of numerous auction catalogs dating from 1905 to 1929, with some scattered auction catalogs from 1937 to 1939 and from 1961 and 1963. It is unclear how these relate to Marsden Hartley or McCausland's Hartley study.

Auction catalogs are arranged in chronological order and have not been scanned.

Box Folder
19 33 Auction Catalogs, 1905
19 34 Auction Catalogs, 1906
19 35 Auction Catalogs, 1907
19 36 Auction Catalogs, 1908
19 37 Auction Catalogs, 1909
Box Folder
20 1-2 Auction Catalogs, 1910
(2 folders)
20 3 Auction Catalogs, 1911
20 4-5 Auction Catalogs, 1912
(2 folders)
20 6 Auction Catalogs, 1913
20 7-8 Auction Catalogs, 1914
(2 folders)
20 9 Auction Catalogs, 1915
20 10-12 Auction Catalogs, 1916
(3 folders)
20 13-16 Auction Catalogs, 1917
(4 folders)
20 17-18 Auction Catalogs, 1918
(2 folders)
Box Folder
21 1-2 Auction Catalogs, 1919
(2 folders)
21 3 Auction Catalogs, 1921
21 4 Auction Catalogs, 1923
21 5-8 Auction Catalogs, 1924
(4 folders)
21 9-11 Auction Catalogs, 1928
(3 folders)
21 12 Auction Catalogs, 1929
21 13 Auction Catalogs, 1937
21 14 Auction Catalogs, 1938
21 15 Auction Catalogs, 1939
21 16 Auction Catalogs, 1961, 1963
21 17 Auction Catalogs, undated

Series 7: Other Research and Writing Files, 1896, 1926-1958
(Boxes 21-25, 31; 4.6 linear feet)

Series consists of files relating to McCausland's other research projects, which produced a more limited amount of documentation, including projects on the painters E. L. Henry and George Inness, and the photographer Lewis Hine, as well as various smaller and perhaps less well-defined projects on different art topics.

The Other Research and Writing Files series is arranged into four subseries:

This series has been scanned in its entirety, except for duplicates. In many cases, only the cover, title page, and relevant pages of publications have been scanned.

7.1: E. L. Henry, 1940-1946

Subseries consists of files relating to McCausland's research for the exhibition, "E. L. Henry Collection" (New York State Museum, 1942), which she organized, and her book, The Life and Work of Edward Lamson Henry, N. A., 1841-1919, which was first published in 1945 as New York State Museum Bulletin number 339. Files include correspondence (primarily with Charles Adams, Director of the New York State Museum), notes on the chronology of Henry's life and his sketchbooks, material related to expenses for work carried out, and some installation photographs of the exhibition.

Files are arranged alphabetically.

Box Folder
21 18 Chronology, [1941-1942]
21 19 Clippings, 1941
21 20 Correspondence, 1940
21 21-25 Correspondence, 1941
(5 folders)
21 26-28 Correspondence, 1942
(3 folders)
Box Folder
22 1-2 Correspondence, 1942
(2 folders)
22 3 Correspondence, 1943
22 4 Correspondence, 1944
22 5 Correspondence, 1945
22 6 Correspondence, 1946
22 7 Exhibition Catalog, 1942
22 8-9 Expenses, 1941
(2 folders)
22 10 Expenses, 1942
22 11 Expenses, 1943
22 12 Installation Photographs of E. L. Henry Exhibition (1942), 1946
22 13 Notes on Sketchbooks, [1941-1942]
22 14 Photographs in Album Listed Serially, [1941-1942]

7.2: Lewis Hine, 1938-1942, undated

Subseries consists of files relating to McCausland's "rediscovery" of the pioneer documentary photographer Lewis Hine, and her research for the retrospective exhibition of his work that she organized for the Riverside Museum in 1939 and for various articles on the artist, including one published in U.S. Camera (1939). Files include correspondence (including correspondence with Hine), notes, manuscripts, prints of Hine photographs, and some photographs of Hine taken by Berenice Abbott.

Files are arranged alphabetically.

Box Folder
22 15-16 Correspondence, 1938-1940
(2 folders)
22 17 Exhibition at Riverside Museum, 1938-1939
22 18 Manuscripts and Published Articles, 1938, undated
22 19-22 Notes and Research Material, 1938-1942
(4 folders)
22 Photographs as Art
22 23 Ellis Island, undated
22 24 Child Labor, undated
22 25 Men at Work, undated
22 26 New York City Scenes, undated
22 27 Steel Workers, undated
22 28 Chicago and Other Places, undated
22 29 Untitled, undated
22 30 Photographs of Lewis Hine (photographer: Berenice Abbott), 1939

7.3: George Inness, 1935-1936, 1944-1946

Subseries consists of files relating to McCausland's research for the exhibition, "George Inness: An American Landscape Painter, 1825-1894," organized for the George Walter Vincent Smith Art Museum in 1946 (also shown at the Brooklyn Museum and Montclair Art Museum), and for her book of the same title, published by American Artist Group the same year. Files include correspondence, catalog material, notes, and reference material. Some correspondence concerns inquiries fielded by McCausland seeking her expertise on Inness paintings.

Files are arranged alphabetically.

Box Folder
22 31-32 Bibliography, 1935-1936, 1944-1945
22 33 Book Cover, [1946]
22 34 Catalog Data, 1945
22 35-38 Correspondence, Pond, Cordelia Sargent Pond (George Walter Vincent Smith Art Museum), 1945-1946
(4 folders)
22 39-41 Correspondence, Others, 1945-1946
(3 folders)
22 42-44 Definitive Catalog, [1945-1946]
(3 folders)
22 45-46 Lacunae - Frick Collection, New York Public Library, [1945]
(2 folders)
Box Folder
23 1-2 "New Leads," 1945-1946
(2 folders)
23 3 Photostats, [1945]
23 4 Transcription of Letter from George Inness, undated

7.4: Various Projects, 1896, 1926-1958

Subseries consists of files stemming from various research projects, some of which resulted in a finished product (such as articles, books, other published works) and some of which were only planned and never completed, and other research activities, such as speaking engagements and consulting jobs. Files include correspondence, notes, manuscripts, proofs, project proposals, contracts and agreements, call slips, questionnaires, reports, and printed material.

Found are files relating to articles and writings on artists, Arthur Dove, Martin Johnson Heade, Robert Henri, and Jacob Lawrence, among others; on film and photography, including numerous articles for The Complete Photographer, Minicam Photography, Modern Photography, and Photography; her work with Berenice Abbott; and on more general topics, such as "Art and Advertising" and "Why Can't Americans Afford Art?".

There are also files relating to McCausland's published book, Careers in Art (1950); to her work on a selected bibliography on American art, which appeared in Magazine of Art (1946); to her catalog for the Charles Hawthorne exhibition at the Grand Central Art Galleries in 1947; to speaking engagements at the American Artists Congress Symposium in 1940 and the National Convention of the American Association of University Women in 1947; to her applications for Guggenheim fellowships; and to various planned projects, including her long-term study on the artist in America from 1641 to 1941 and her study of the nude in American art.

Also found are files relating to various freelance consulting and editing jobs, including photo-editing Carl Sandburg's book of poems, Poems of the Midwest, assisting as special publications editor for the opening of the Everyday Art Gallery at the Walker Art Center, and conducting a survey of art education for Cooper Union Art School.

Files are arranged alphabetically.

Box Folder
23 5 Abbott, Berenice, "Metropolis: Old and New" and Other Projects, 1954
23 American Art History
23 6 Clippings, 1948
23 7-8 Notes, 1953, undated
(2 folders)
23 9 American Artists Congress Symposium, 1939-1940
23 10-12 American Association of University Women, National Convention, 1947
(3 folders; not scanned in entirety)
23 13 American Dance Association, 1939
23 14 Article on Elizabeth McCausland, circa 1951
23 15 The Artist in America, 1641-1941, circa 1944
23 16-21 Bibliography, 1946-1947
(6 folders)
23 22-28 Bibliography, Sources, 1946
(7 folders)
23 Card Index Files
(Not scanned)
23 29 Alphabetical, undated
(See Box 31)
23 30 Index to Clippings, undated
(See Box 31)
23 31 "Social Matrix," undated
(See Box 31)
23 32 Subject I, undated
(See Box 31)
23 33 Subject II, undated
(See Box 31)
23 Careers in the Arts
23 34-35 Bibliography, 1946-1950
(2 folders)
23 36 Miscellaneous, 1950-1953
23 37 Notes, 1948-1950
23 38-39 The Complete Photographer (Willard D. Morgan), 1940-1942
(2 folders)
Box Folder
24 1 Cooper Union Art School Survey, 1948-1949
24 2-3 Dickinson, Emily, 1929-1933
(2 folders)
24 4 "The Dilemma of Culture," undated
24 5 "Documenting Changing New York," 1939
24 Dove, Arthur G.
24 6 Article, "Dove: Man and Painter," 1896, 1930-1937, 1941
24 7 Critical Study, undated
24 8-9 Proposed Critical Biography, 1955
(2 folders)
24 10 Encyclopedia Britannica, Patronage, undated
24 11 Film, "Art and Pinocchio," undated
24 Guggenheim Fellowship
24 12 Applications, 1935-1942
24 13 Correspondence (See also General Correspondence), 1951, 1953
24 14-16 Hawthorne, Charles W., 1947-1948
(3 folders)
24 17-18 Heade, Martin Johnson, 1945
(2 folders)
24 Henri, Robert
24 19 Bibliography, 1957
24 20 Correspondence and Contract, 1956-1958
24 21 Notes, [1957]
24 22 Notes on Sketchbooks, [1957]
24 23-25 "History of Photography," 1926, 1941, 1947
(3 folders)
24 26 "How Artists Work"(?), Graphic Art, 1935, undated
24 27 "How Artists Work," Manuscript, undated
24 28 Index of American Design, 1938, 1945
24 29 Kiesler, Frederick J., undated
24 30-31 Kollwitz, Kaethe, 1937-1938
(2 folders)
24 32 Kollwitz Portfolio, 1941-1942
24 33 Lawrence, Jacob, 1945
24 34 Minicam Photography (Will Lane), 1941-1942
24 35 Miscellaneous, 1953, undated
24 36-43 Modern Photography, 1954, undated
(8 folders)
24 44-45 Morse, Samuel F. B., undated
(2 folders)
24 46 National Art Week, 1941
24 47 Notes, Miscellaneous, 1935, undated
24 48-55 "The Nude in American Art," 1953-1954
(8 folders)
Box Folder
25 1-5 "The Nude in American Art," 1953-1954
(5 folders)
25 6 "The Nude in American Art," Mary S. Abbot, 1954
25 7 The Photo League, Symposium on Functions of Photography, 1939
25 8-10 Photography (Norman C. Lipton), 1947-1948
(3 folders)
25 11 "Picasso," 1944
25 12 Poems of the Midwest, [1946]
25 Questionnaires
25 "Art and Advertising"
25 13-14 Art Directors, 1945
(2 folders)
25 15-17 Painters, 1945
(3 folders)
25 18 Sculptors, 1945
25 "Why Can't America Afford Art?"
25 19 Correspondence, 1945
25 20 Excerpts, [1945]
25 21 Findings, [1945]
25 22 Lists, [1945]
25 23 Miscellaneous, 1941, [1945]
25 24-25 Painters A-L, 1945
(2 folders)
25 26 Painters M-Z, 1945
25 27 Sculptors, 1945
25 28 Tabulations, 1945
25 29 Quintanilla, Luis, 1938
25 30 Radio Broadcast on Picasso, 1945
25 31 Russian War Relief, 1944
25 32 Sculpture, undated
25 33 Selective Bibliography on American Painting by A. G. Weimer, 1937
(Not scanned)
25 34 Social Science Research Council, 1948
25 35 Springfield Museum of Fine Arts, 1934
25 36 The Springfield Republican, Notes on Articles, 1920s
25 37 Stock, Joseph, 1932
25 38 Ulmann, Doris, undated
25 39-42 Walker Art Center, Everyday Art Gallery, 1945-1947
(4 folders)
25 43 War Department, "Contemporary American Painting" Exhibition, [1946]
25 44 Wichita Art Museum, undated
Box
31 Oversize, Three Card Index Files to Newspapers, undated
(Not scanned)

Series 8: Subject Files, 1927-1954
(Boxes 25-26; 1.0 linear feet)

Series consists of files of clippings (including some clippings of McCausland's articles for The Springfield Republican), scattered notes and correspondence, photographs, and other printed material organized according to subject. Some files may have been collected as reference files. Others may relate to further research activities and interests of McCausland or possibly even to some unidentified research projects. Some files (mostly clippings of McCausland's articles on different artists and art topices) were loosely grouped together under the heading "Art and Social History" although it is unclear why or what this means.

Subject files are arranged in alphabetical order.

Box Folder
25 45 American Artists Group, 1935-1937
25 46 The Architects, Painters, and Sculptors Collaborative, 1937
25 47 Architecture, 1940-1950
25 48 Art and Government, undated
25 "Art and Social History"
25 49 American Roots, 1930-1937, 1950-1952
25 50 Art in Wartime, 1941
25 51-52 Art in Wartime/Art Under F.D.R., 1945
(2 folders)
25 53-55 Clippings, 1937-1946
(3 folders)
Box Folder
26 1 Miscellaneous Printed Material, 1950-1951
26 2 Negro Art, 1935
26 3 Noguchi, Isamu, 1936
26 4 O'Keeffe, Georgia, 1934-1937
26 5 Siqueiros, David Alfara, 1936
26 6 Social Content, 1933, 1936
26 7 Soutine, 1936
26 8 Steichen, Edward, 1936
26 9 Stein, Gertrude, re: Modern Art, 1933-1935
26 10 World War II and Art, [1942]
26 Art in Architecture
26 11 Murals, undated
26 12 Sculpture, undated
26 13 "Art in War," 1941
26 14 Art as Propaganda, 1940-1941
26 15 Associated American Artists, 1936
26 16 Brainard, George, 1937
26 17 Censorship, 1934-1937
26 18 Collections, 1937
26 19 Conference on Cultural Freedom and Civil Liberties, 1947
26 20 Contemporary American Art, World's Fair, 1940
26 21-22 Dance, 1933-1938
(2 folders; partially scanned)
26 23 Degas, Edgar, undated
26 24 Design Laboratory, 1936
26 Federal Art Project
26 25 History, 1935-1937
26 26 Reports, 1936-1939
26 27 Federal Art Project, 1939-1940
26 28 Federal Arts Bill, 1938
26 29 Film, 1938
26 30-32 Film, Documentary, 1938-1940
(3 folders)
26 33 Homer, Winslow, 1937
26 34 Industrial Design, undated
26 35 MacLeish, Archibald, 1943-1944
26 36 Metropolitan Museum of Art, 1946
26 37 Miscellaneous, 1935-1942
(Partially scanned)
26 38 Mount, William Sidney, 1945
26 39 Museum of Modern Art, 1938-1939
26 40 National War Poster Competition, undated
26 41-42 National Wartime Conference, 1943
(2 folders)
26 43 New Bedford Strike, 1928
26 44 New York World's Fair (1939), 1936-1938
26 45 Notes, 1936-1937, 1944
26 46 The Nude in Art, 1922
26 47 "Outdoor Billboard Posters from South and Central America" Exhibition, 1941
26 48 Photography, 1936-1952
(Partially scanned)
26 49 Picasso, Pablo, 1934-1937
26 50 Post-War Planning, 1944
26 51-53 Sacco and Vanzetti, 1927-1930
(3 folders; partially scanned)
26 54 Slides, 1954
26 55 Soviet Union, 1939, 1944-1945
(Partially scanned)
26 56 Spain, 1934, [1937]
26 57 The Springfield Republican Lockout, 1935
(Not scanned)
26 58 Steiglitz, Alfred, undated
(Not scanned)
26 59 Treasury Department, Section of Fine Arts, 1938
26 60 Works Progress Administration, 1936-1938

Series 9: Other Exhibition Files, 1939-1941, 1944
(Boxes 26; 0.3 linear feet)

Series consists of files relating to McCausland's work organizing various exhibitions, including "The World of Tomorrow" exhibition at The Berkshire Museum in the summer of 1939, the first comprehensive group exhibition of silk screen color prints at the Springfield Museum of Fine Arts in March 1940, another (perhaps related) group exhibition of silk screen color prints at the New York State Museum in the summer of 1940, and an exhibition of contemporary photography at the A.C.A. Gallery in August 1944. Files include correspondence, lists of works, text for wall labels and catalogs, and photographs. Files document McCausland's activities of selecting works, planning, and making arrangements for the exhibitions, and her interactions with others involved, such as Laura Bragg at The Berkshire Museum, Charles Adams at the New York State Museum, Audrey MacMahon at the Works Progress Administration, Edward Landon, and various artists.

Files are arranged in alphabetical order. Items within files are arranged in rough chronological order, according to the existing organization. Related material can be found amongst research and writing files, and general correspondence.

This series has been scanned in its entirety.

Box Folder
26 61 A.C.A. Gallery, "Photography Today" Exhibition, 1944
26 62-64 The Berkshire Museum, "The World of Tomorrow" Exhibition, 1939
(3 folders)
26 65-66 New York State Museum, Silk Screen Exhibition, 1940
(2 folders)
26 67-69 Springfield Museum of Fine Arts, Silk Screen Exhibition, 1940-1941
(3 folders)

Series 10: Teaching Files, 1939-1965
(Box 27; 0.5 linear feet)

Series consists primarily of files relating to a course on American art history taught by McCausland at Barnard College during the spring and fall semesters of 1956. Files include course material, lectures, notes, correspondence, and printed material. Also found are scattered files relating to a course on culture morphology or the morphology of design at the Laboratory School of Industrial Design in 1939; a course, or series of lectures, on American art and American life given at Cooper Union in 1952; her teaching stint at Sarah Lawrence College in the early 1940s; and a planned course on American art at the University of Southern California during the summer session of 1965, which McCausland ultimately had to back out of due to illness.

Files are arranged alphabetically. This series has been scanned in its entirety, except for one folder of publications.

Box Folder
27 Barnard College
27 1-2 Chronology of American Art, [1956]
(2 folders)
27 3-4 Correspondence and Miscellaneous, 1955-1957
(2 folders)
27 5-6 Course Information, 1956-1957
(2 folders)
27 7-10 Lectures, [1956]
(4 folders)
27 11-14 Notes, 1956
(4 folders)
27 15 Publications, 1956
(Not scanned)
27 16 Reading Lists, 1956
27 17 Student Appraisals and Other Material, 1956-1957
27 18-19 Cooper Union, "American Art and American Life" Lectures 1-6, 1952
27 20-26 Laboratory School of Industrial Design, "Culture Morphology," 1939
(7 folders)
27 27 Sarah Lawrence College, circa 1942
27 28 University of Southern California, 1964-1965

Series 11: Committee Files, 1936-1960
(Box 27; 0.5 linear feet)

Series consists of files relating to McCausland's involvement in various artist committees and associations, and art organizations. Included are files stemming from her work on the Promotion Committee of the New York City Council for Art Week, which was involved in planning National Art Week 1940 and sought to promote the purchase of art by the general public; and on the Advisory Committee on Photography at the Museum of Modern Art, on which she served with Ansel Adams and Paul Strand, among others. Also found are files stemming from her participation in the Artists League of America, organizing the Critics Group and planning a national conference on artists in the war; in the Artists Societies for National Defense, which was a collective of art organizations dedicated to developing a program for the use of art in national defense; and on the Writers War Board of the Author's League, which held a meeting on "The American Arts Work for the War" in May 1942. There are also some general files on art organizations and on McCausland's community interests and political activities. Files typically include minutes, reports, correspondence, notes, writings, and printed material.

Files are arranged in alphabetical order. This series has been scanned in its entirety.

Box Folder
27 29-31 American Artists Congress, 1936-1941
(3 folders)
27 32 American Labor Party, 1942
27 33 Art Organizations, 1939-1940
27 34 Artists League of America, 1942
27 35-38 Artists Societies for National Defense, 1941-1942
(4 folders)
27 39 Community Interests, 1941
27 International Association of Art Critics
27 40 American Section, 1960
27 41 A Report on Artists in the United States, 1951
27 42 League of American Writers, 1942
27 43 Museum of Modern Art, Advisory Committee on Photography, 1944-1945
27 44-45 New York City Council for Art Week, Promotion Committee, 1940
(2 folders)
27 46-47 Political Activities, 1940-1941
(2 folders)
27 48 United American Artists, 1936-1940
27 49 Writers War Board of the Authors League, 1942

Series 12: Printed Material, 1923-1953
(Boxes 28-32, 34, OV 38, BV 44-47; 4.9 linear feet; not scanned)

Series consists of extensive clipping files, scrapbooks, and volumes of McCausland's articles and columns that appeared in The Springfield Republican from 1923 to 1946, along with some other printed material including reprints of some of McCausland's magazine articles, books, clippings on McCausland, exhibition announcements and catalogs, and publications.

The Printed Material series is arranged into two subseries:

The clippings of articles and columns for The Springfield Republican in sub-series 12.1 have not been scanned, except for five scrapbooks of clippings and 2 folders of clippings about "The Blue Menace" and Picasso. The Bound Volumes of clippings are too large to be scanned. Many of these same clippings are scattered throughout the Subject Files in Series 8. Much of sub-series 12.2, Other Printed Material, has been scanned, except for books, a few publications, and exhibition wall labels, as noted in the folder titles.

12.1: Articles and Columns for The Springfield Republican, 1923-1946

Box Folder
28 Scrapbooks of Clippings
28 1 Scrapbook, December 1923-January 1925
28 2 Scrapbook, January 1925-April 1926
28 3 Scrapbook, April 1926-April 1927
28 4 Scrapbook, April 1927-November 1928
28 5 Scrapbook, November 1928-March 1929
Box Folder
29 Clippings
(Not scanned, except as noted)
29 1 Vacation Issues, 1927-1929
29 2 "The Blue Menace," 1928
(Scanned)
29 3 Clippings, 1928?
29 4 Clippings, 1928
29 5-6 Feature Articles, 1929-1934
(2 folders)
29 7 Clippings, 1929
29 8-9 Clippings, 1930
(2 folders)
29 10-11 Clippings, 1931
(2 folders)
29 12-13 Clippings, 1932
(2 folders)
29 14-15 Clippings, 1933
(2 folders)
29 16-17 Picasso, 1934
(2 folders, scanned)
29 18-19 Clippings, 1934
(2 folders)
29 20-21 Clippings, 1935
(2 folders)
Box Folder
30 1 Film Criticism, 1936-1939
30 2 Clippings, 1936
30 3-4 Clippings, 1937
(2 folders)
30 5-6 Clippings, 1938
(2 folders)
30 7 Latin-American Art, 1939-1943
30 8-9 Clippings, 1939
(2 folders)
30 10-11 Clippings, 1940
(2 folders)
30 12-13 Clippings, 1941
(2 folders)
30 14-15 Clippings, 1942
(2 folders)
30 16-17 Clippings, 1943
(2 folders)
30 18-19 Clippings, 1944
(2 folders)
30 20-21 Clippings, 1945
(2 folders)
30 22-23 Clippings, 1946
30 24 Clippings, undated
Box
BV 44 Tear Sheets of Art Column, 1935-1936
(Not scanned)
Box
BV 45 Tear Sheets of Art Column, 1937-1938
(Not scanned)
Box
BV 46 Tear Sheets of Art Column, 1939-1940
(Not scanned)
Box
BV 47 Tear Sheets of Art Column, 1941-1942
(Not scanned)

12.2: Other Printed Material, 1929-1953

Box Folder
32 (hol) 1 Announcements and Press Releases, 1940-1947
32 (hol) 2 Art Reproductions, undated
32 (hol) 3 Articles by McCausland, 1937-1947
32 (hol) 4 Books, 1929, 1943, 1946, 1950
(Not scanned; Oversized items in Box 31)
32 (hol) 5 Clippings on McCausland, 1935-1953
32 (hol) 6 Clippings, Miscellaneous, undated
32 (hol) 7 Clippings (originally from a scrapbook?), 1933-1940
32 (hol) 8 "Eight Studies by Mexican Masters of Graphic Arts," 1952
(Oversized items in OV 38)
32 (hol) 9 Exhibition Announcements and Catalogs, 1936-1946
(Oversized items in Box 34)
32 (hol) 10 Invitations, 1946, undated
32 (hol) 11 Miscellaneous, 1931-1951
32 (hol) 12 New School Bulletin and Course Information, 1951
32 (hol) 13 Programs, 1934-1951
32 (hol) 14-16 Publications, 1936-1953
(Partially scanned; 3 folders)
32 (hol) 17 Wall Labels, undated
(Not scanned; Oversized items in Box 34)
Box
31 Oversize, Books, 1929, 1943, 1946, 1950
(Not scanned)
Box
34 (sol) Oversize, Exhibition Announcement, 1946
(Scanned with Box 32, Folder 9)
34 (sol) Oversize, Wall Labels, undated
(Not scanned)
Box
OV 38 Oversize, "Eight Studies by Mexican Masters of Graphic Arts," 1952
(Scanned with Box 32, Folder 8)

Series 13: Photographs, circa 1905-1950
(Boxes 32-36, OV 37; 1.4 linear feet)

Series consists of photographs of artists and works of art, photographs as art, and prints from photography exhibitions at The Museum of Modern Art collected by McCausland in the course of her wide-ranging research and writing activities. Of particular note amongst the photographs as art are those taken by Berenice Abbott from 1935 to 1938 as part of a WPA project to document the city and published as a book, Changing New York (1939), with commentary by McCausland. Of particular note amongst the photographs of artist are ones of Isamu Noguchi working on his "News" plaque for the Associated Press Building at Rockefeller Center circa 1938-1940. Also found are some photographs of McCausland, including one with Gertrude Stein taken in 1934 (the original of which is missing).

Included in many of the photograph files are copy prints and negatives made by the Archives.

Files are arranged in alphabetical order. Photographs can also be found amongst research and writing files. This series has been scanned in its entirety, except for duplicates and negatives.

Box Folder
32 (hol) 18-19 Farm Security Administration Photographs, undated
(2 folders)
32 (hol) 20 Miscellaneous, undated
(Oversized items in Box 34)
32 (hol) Photographs as Art
32 (hol) 21 Abbott, Berenice, "Changing New York," 1935-1937
(Oversized items in Box 35)
32 (hol) 22 Brainard, George B., undated
32 (hol) 23 Gardner, Alex, undated
32 (hol) 24 Libsohn, Sol, 1939?
32 (hol) 25 Miscellaneous, undated
32 (hol) 26 Morgan, Barbara, "Celebration, 1940
(Oversized items in Box 36)
32 (hol) 27 Warren, DeWitt, 1938
32 (hol) 28 Weegee, circa 1918, 1944
(Oversized items in Box 36 and OV 37)
32 (hol) 29 Weston, Edward, "Dunes at Oceano, CA," circa 1937
(Oversized items in Box 36)
Box Folder
33 (hol) Photographs of Artists
33 (hol) 1 Edmondson, William (Photographer: Louise Dahl Wolfe), [1937]
(Oversized items in Box 36)
33 (hol) 2 Kroll, Leon, undated
33 (hol) 3 Noguchi, Isamu, [1938-1940]
33 (hol) 4 Picasso, Pablo (Photographer: Man Ray), undated
(Oversized items in Box 34)
33 (hol) 5 Photograph of Elizabeth McCausland and Gertrude Stein (original missing), 1934
33 (hol) Photographs of Elizabeth McCausland
33 (hol) 6 Childhood, circa 1905-1908
33 (hol) 7 Portraits, circa 1916-1945
33 (hol) 8 New Mexico, 1941
33 (hol) 9 At Her Printing Press (Photographer: Berenice Abbott), circa 1935
33 (hol) 10 At Various Openings and Gatherings, circa 1937-1950
33 (hol) 11 Silk Screen Demonstrations, World's Fair, 1940
33 (hol) 12 At Home in New York, circa 1945
33 (hol) Photographs of Works of Art
(Not scanned)
33 (hol) 13 European, undated
33 (hol) 14 Federal Art Project, 1938-1939
33 (hol) 15 Government Buildings, undated
33 (hol) 16 Gregory, Waylande, undated
33 (hol) 17 Miscellaneous,
33 (hol) 18 Mount, William Sidney, undated
33 (hol) 19-20 National Defense Posters, 1941, 1943
(2 folders)
33 (hol) 21 New York World's Fair, [1939]
33 (hol) 22-24 Prints from Photography Exhibitions at The Museum of Modern Art, 1937-1945
(3 folders)
Box
34 (sol) Oversize, Miscellaneous, undated
(Scanned with Box 32, F20)
34 (sol) Oversize, Picasso Pablo (Photographer: Man Ray), undated
(Scanned with Box 33, F4)
Box
35 (sol) Oversize, Abbott, Berenice, "Changing New York," 1935-1937
(Scanned with Box 32, F21)
Box
36 (sol) Oversize, Morgan, Barbara, "Celebration," 1940
(Scanned with Box 32, F26)
36 (sol) Oversize, Weegee, 1944
(Scanned with Box 32, F28)
36 (sol) Oversize, Weston, Edward, circa 1937 "Dunes at Oceano, CA,"
(Scanned with Box 32, F29)
36 (sol) Oversize, Edmundson, William (Photographer: Louise Dahl Wolfe), [1937]
(Scanned with Box 33, F1)
Box
OV 37 Oversize, Weegee, circa 1918
(Scanned with Box 32, F28)

Series 14: Art Work, 1887-1942, undated
(Box 33-34, OV 39-43)

Series consists of art work (many are signed) either given to McCausland by the artist or collected by her in the course of her work as an art critic and art historian. Art work includes drawings and watercolors by Max Bohm, Adolf Aldrich, Frank Buffmire (documenting McCausland's contributions to the American Processional exhibition, on which she worked in 1950), Edward Landon, Art Young, and others. Also found are prints by Asa Cheffetz, Elizabeth Olds, and David Rose, as well as silk screen calendars, another calendar of prints (signed by some of the artists), and a folio of prints by the Artists' Union of Western Massachusetts. There is also an acrylic painting attributed to L. Jean Liberte.

Art work is also found among the research files on Alfred Maurer. This series has been scanned in its entirety.

Box Folder
33 (hol) 25 Drawings by Max Bohm, 1887-1888, undated
(Oversized items in OV 39)
33 (hol) 26 Drawings, Figure Studies (Artist Unknown), undated
(Oversized items in OV 40)
33 (hol) 27 Drawings by Various Artists, undated
(Oversized items in OV 41)
33 (hol) 28 Painting (attributed to L. Jean Liberte), undated
(Oversized items in OV 41)
33 (hol) Prints
33 (hol) 29 By Various Artists, 1940, undated
(Oversized items in OV 42)
33 (hol) 30 Silk Screen Calendars, 1941-1942
(Oversized items in Box 34)
33 (hol) 31 "A Folio of Prints by the Artists' Union of Western Massachusetts," undated
33 (hol) 32 "Victory 1942, A Calendar and Sixteen Prints for Democracy," 1942
With prints signed by artists Joe Leboit, Elizabeth Olds, Hugo Gellert, Jim Egleson, Hilda Robbins, Art Young, and Harry Gottlieb.
33 (hol) 33 Watercolors by Various Artists, 1933, undated
(Oversized items in OV 43)
Box
34 (sol) Oversize, Silk Screen Calendars, 1941-1942
(Scanned with Box 33, F30)
Box
OV 39 Oversize, Drawings by Max Bohm, 1887-1888, undated
(Scanned with Box 33, F25)
Box
OV 40 Oversize, Drawings, Figure Studies (Artist Unknown), undated
(Scanned with Box 33, F26)
Box
OV 41 Oversize, Drawings by Various Artists, undated
(Scanned with Box 33, F27)
OV 41 Oversize, Painting (attributed to L. Jean Liberte), undated
(Scanned with Box 33, F28)
Box
OV 42 Oversize, Prints by Various Artists, 1940, undated
(Scanned with Box 33, F29)
Box
OV 43 Oversize, Watercolors by Various Artists, 1933, undated
(Scanned with Box 33, F33)

List of Notable Correspondents from Series 2: Correspondence

List represents only a selection of correspondents from general correspondence.

  • A. A. Wynn Inc.: 1951
  • ACA Gallery: 1941, 1943, 1945, 1946, 1947
  • Abbot, Mary Squire (McIntosh and Otis Company): 1941, 1945, 1947, 1948, 1949, 1950, 1952, 1953, 1954, 1955, 1958
  • Abbott, Berenice: 1934
  • Adams, Charles: 1938, 1939, 1940, 1943, 1944, 1946, 1947, 1948, 1949, 1950, 1951, 1952
  • Adams, Harriet Dyer: 1946
  • Adelphi College: 1953
  • Adlow, Dorothy (Christian Science Monitor): 1950, 1951, 1952, 1953, 1954
  • Albany Institute of History and Art: 1946, 1947
  • Aldrich, Adolf: 1945
  • American Academy of Arts and Sciences: 1946, 1947
  • American Artist Magazine: 1952
  • American Artists Congress: 1938, 1939, 1942
  • American Artists Group: 1939, 1945, 1946, 1947, 1950
  • American Association of University Women: 1951
  • American Federation of Arts: 1946, 1947, 1948, 1949, 1951, 1952, 1954, 1956
  • American Museum of Natural History: 1944
  • American Newspaper Guild: 1942
  • American Philosophical Society: 1947
  • Anderson, Mrs. Sherwood (Eleanor): 1949
  • Antiques: 1955
  • Arden, Elizabeth: 1937
  • Arnason, H. Harvard (Walker Art Center): 1951, 1952, 1953, 1954
  • Art Digest: 1951
  • Art in America (see also Jean Lipman): 1957
  • Art Institute of Chicago: 1945, 1947
  • Art of this Century: 1944
  • Artists for Victory: 1944
  • Artists Equity Association: 1956
  • Artists League of America: 1942, 1943, 1944, 1945
  • Artists Society for National Defense: 1941
  • Associated American Artists: 1940
  • Baltimore Museum of Art: 1953
  • Bard College: 1953
  • Barnes, Djuna: 1951
  • Barr, Alfred H.: 1939, 1944, 1947, 1951
  • Barr, Norman: 1941, 1942, 1943, 1945
  • Baumann, Gustave: 1946
  • Baur, John I. H.: 1939, 1942, 1946
  • Beam, Lura: 1945, 1958
  • Beard, Mary: 1938, 1939, 1944
  • Benn, Ben: 1951
  • Bennington School of the Arts: 1940
  • Berkshire Museum: 1939, 1940
  • Biddle, George: 1947
  • The Bobbs-Merrill Company: 1944
  • Bourke-White, Margaret (letter to Berenice Abbott): 1940
  • Brewster, William F.: 1954, 1955
  • The Brooklyn Museum: 1943, 1945, 1948, 1954
  • Brown, Milton: 1945
  • Buchholz Gallery: 1941, 1943
  • Butler, Joseph (Butler Institute of Art): 1954, 1955
  • Cahill, Holger: 1937, 1942, 1944, 1946, 1950
  • Carter, Clarence H.: 1945, 1946
  • Cinema: 1947
  • Clarke, Bert: 1950
  • Constantine, Mildred: 1939, 1941, 1942
  • Cook, Waldo Leland: 1949
  • Cooper Union: 1949, 1952
  • Cooper Union Art School: 1947, 1948
  • Corcoran Gallery of Art: 1948, 1949, 1950, 1951
  • Cowdrey, Mary Bartlett (Smith College Museum of Art): 1943, 1949, 1951, 1952, 1953, 1954
  • Crawley, Lawrence: 1950
  • Crehan, Hubert (Art Digest): 1953
  • Crichlow, Ernest: 1941
  • Curran, Charles: 1942
  • D'Harnoncourt, Rene: 1947
  • Daura, Pierre: 1949, 1951, 1954
  • Detroit Institute of Arts: 1945
  • Devree, Howard: 1949
  • Diamond (Rotkin), Adele: 1941
  • Donato, Louis: 1939
  • Dows, Olin: 1942
  • Eames, Charles: 1950, 1951
  • Estler, William C.: 1944
  • Federation of Modern Painters and Sculptors: 1946
  • Fitch, George: 1955
  • Fitch, James: 1940
  • Fortune Magazine: 1946
  • Francis, Robert: 1940, 1942, 1943
  • Frick Art Reference Library: 1944, 1948, 1950, 1951, 1953, 1958
  • Friedman, William: 1939
  • Fuerstenberg, Eugenia Maurer: 1950, 1951
  • Fulton, W. Joseph (University of Chicago): 1951, 1952, 1954, 1955, 1956, 1958, 1959
  • G. P. Putnam's Sons: 1937
  • Genauer, Emily: 1947
  • George Walter Vincent Art Museum (Cordelia Sargent Pond): 1945, 1946, 1947, 1948
  • Gibran, Khalil: 1928
  • Gilbert, Dorothy: 1950
  • Godsoe, Robert Ulrich: 1951
  • Golden, Samuel (see also American Artists Group): 1946
  • Goodrich, Lloyd: 1942, 1947, 1950, 1951, 1952
  • Goodwin, Phillip L.: 1943
  • Gottlieb, Harry: 1944
  • Griffin, Maude: 1953
  • Graham, Martha: 1934, 1942
  • Grossman, Sid: 1938
  • Gwathmey, Robert: 1945
  • Harcourt, Brace and Company: 1947, 1949
  • Harper and Brothers: 1951
  • Hayes, Bartlett (Addison Gallery of Art): 1942, 1945, 1947
  • Hess, Thomas (Art News): 1950
  • Hope, Henry (University of Indiana): 1949, 1950
  • International Fine Arts Council: 1950
  • Irvine, Rosalind: 1952
  • J. B. Lippincott Company: 1951, 1952
  • Jacques Seligmann and Company: 1938
  • James, Rebecca Salsbury: 1951
  • Javitz, Romana: 1946, 1950, 1951, 1952, 1954, 1955
  • Jewell, Edward Alden: 1946, 1947
  • John Day Company: 1950, 1951, 1955
  • John Simon Guggenheim Memorial Foundation: 1941, 1942, 1943, 1944, 1945, 1946, 1947, 1952, 1953
  • Jones, Howard Mumford (Harvard University): 1947
  • Kauffer, E. McKnight: 1946
  • Kent, Rockwell: 1945, 1946
  • Kirstein, Lincoln: 1941, 1943, 1944, 1946, 1947
  • Kish, Maurice: 1945
  • Kistler, Aline: 1941
  • Knight Publishers Inc.: 1938
  • Kuniyoshi, Yasuo: 1945
  • Landon, Edward: 1939
  • Lange, Dorothea: 1945
  • Larkin, Oliver: 1943, 1944, 1949
  • Leeper, John and Blanche (see also Corcoran Gallery of Art): 1950, 1951, 1954
  • Leighton, George: 1945
  • Lerner, Abe (see also World Publishing Company): 1950, 1951
  • Lipman, Jean: 1945, 1946, 1947, 1952
  • Lipton, Norman C. (Good Photography): 1941, 1942, 1943
  • Longman, Lester: 1940
  • MacMahon, Audrey (see also Parnassus): 1936, 1938, 1939, 1940, 1942
  • The MacMillan Company: 1943, 1947, 1949, 1950
  • Magazine of Art: 1944, 1945, 1946, 1947
  • Magriel, Paul: 1954
  • Maurer, Alfred L.: 1951
  • Metropolitan Museum of Art: 1943, 1947, 1955
  • Miller, Dorothy: 1950, 1951
  • Milwaukee Art Institute: 1948
  • Minicam Photography: 1941, 1943, 1944
  • Modernage Furniture Corp.: 1945
  • More, Herman (Whitney Museum of American Art): 1954
  • Morton, Phillip: 1951, 1952
  • Mount Holyoke College: 1943
  • Munson-Williams-Proctor Institute: 1956
  • Museum of Modern Art: 1934, 1942, 1943, 1944, 1945
  • Museum of the City of New York: 1958
  • N.W. Ayer and Son: 1945, 1946, 1950
  • The Nation: 1940, 1955
  • National Gallery of Art: 1944, 1945
  • National Maritime Union: 1945
  • Navas, Elizabeth: 1952, 1953, 1954
  • Neuberger, Roy: 1952
  • The New American Library: 1955, 1956
  • The New Republic: 1944, 1947
  • The New School for Social Research: 1945
  • The New York Herald Tribune: 1945, 1947
  • New York Historical Society: 1943
  • New York Public Library: 1943, 1955, 1956
  • New York State Museum: 1949
  • The New York Times: 1940
  • Newark Museum: 1944
  • Newhall, Beaumont: 1944
  • Newhall, Nancy: 1945
  • Norman, Dorothy: 1934, 1937, 1938, 1940
  • Old Print Shop: 1945
  • Olmsted, Anna Wetherill (Syracuse Museum of Art): 1950
  • Opportunity: 1943, 1944, 1945
  • Ossorio, Alfonso: 1953
  • P. F. Collier and Son Corp.: 1947, 1948, 1949, 1951, 1952, 1953, 1954, 1955, 1957, 1958
  • Pach, Walter: 1955
  • Parnassus: 1939
  • Pennsylvania Academy of Fine Art: 1951
  • Pepsi-Cola Company: 1944, 1945
  • Philadelphia Art Alliance: 1946
  • Pierre Matisse Gallery: 1938, 1939
  • Popular Photography: 1943
  • Portland Art Museum: 1940
  • Porter, Eliot: 1954
  • Printer's Ink (Carl Weiss): 1951
  • Railway Express Agency: 1949
  • Rivera, Diego: 1949
  • Rogers, John C.: 1941
  • Roosevelt, Eleanor: 1944
  • Rosenblum, Walter: 1944
  • Rothschild, Lincoln: 1937, 1942, 1945, 1946, 1949
  • Royce, William: 1933, 1934, 1935, 1942, 1958
  • Rukeyser, Muriel: 1941, 1950
  • San Francisco Chronicle: 1951, 1953
  • Sarah Lawrence College: 1942, 1943, 1944
  • Saturday Evening Post: 1946
  • Schlesinger, Arthur: 1943
  • School Art League of New York City: 1953, 1954
  • Schwimmer, Rosika: 1933, 1935, 1943
  • Sculpture's Guild: 1938, 1940, 1941
  • Segy, Ladislaw: 1943
  • Shelter: 1939
  • Sloan, John: 1951
  • Smith College Museum of Art: 1939, 1954
  • Soby, James Thrall: 1935, 1946, 1951
  • Social Science Research Council: 1948
  • Springfield Museum of Fine Art: 1938, 1940, 1941
  • Standard Oil: 1946
  • Stein, Gertrude: 1934
  • Sterling, Charles (Department of Painting, The Louvre): 1951
  • Strand, Paul: 1942
  • Survey Associates: 1938, 1939
  • Sweeney, James John: 1954, 1955, 1956
  • Thornton, Russell (see also Corcoran Gallery of Art): 1951, 1952, 1953
  • Time Magazine: 1945
  • Toklas, Alice B.: 1949
  • Traphagen School of Fashion: 1957
  • U.S. Camera: 1940
  • University of Chicago Library: 1951
  • University of Minnesota: 1951
  • University of Nebraska: 1953, 1954, 1956, 1957
  • Vanderbilt, Paul (Library of Congress): 1950
  • Vogue Magazine: 1953
  • Vose, Robert C.: 1945
  • Wade, Henry: 1954
  • Walker Art Center: 1946, 1947, 1949, 1950, 1951
  • Walker, Hudson: 1948, 1949, 1950, 1951, 1952
  • Ward, Lynd: 1942, 1945, 1947
  • Western Photography: 1946
  • Weston, Edward: 1943
  • Weyhe Gallery: 1940, 1951
  • Wheaton College: 1955
  • Wheeler, Monroe: 1941, 1942, 1943, 1944, 1945
  • Whitney Museum of American Art: 1946, 1947, 1951
  • Wichita Art Association: 1947
  • Williams, Hermann Warner (see also Corcoran Gallery of Art): 1950, 1951, 1952, 1954
  • Wilson, Sol: 1945
  • Worcester Art Museum: 1943, 1945
  • World Publishing Company: 1946, 1949, 1950, 1955
  • Yale University Art Gallery: 1949
  • Yale University Library: 1951, 1952, 1953, 1954
  • Young, Art: 1941
  • Young Artists Guild: 1948