Archive for the 'Archive' Category

Get to Know an Artist: Helen Brooks, “Profile”

Helen Brooks, Profile, about 1935, charcoal, Dallas Art League Purchase Prize, Seventh Annual Dallas Allied Arts Exhibition, 1935.13

Eighty-five years ago, on March 24, 1935, the Dallas Museum of Fine Arts opened its seventh annual Dallas Allied Arts Exhibition. That same day, an illustrated spread in the Dallas Morning News announced the show’s 12 first-prize winners, all but two of which are now in the DMA’s collection. Helen Brooks’s Profile, the only self-portrait of the bunch, appears at bottom center, adding a touch of humanity to a roster of mostly landscapes and still lifes. Reviewing Dallas’s 1934-1935 art season for the Dallas Morning News a few months later, artist, critic, and future Museum Director Jerry Bywaters called Brooks’s work “one of the best drawings of the season.”

Clip from Dallas Morning News, “The Prize Winners,” March 24, 1935; clip from Dallas Morning News, January 5, 1936

When a show of self-portraits by 27 local artists opened at the Dallas Museum of Fine Arts in January 1936, Bywaters again had nothing but praise for Brooks’s contribution, declaring in the News, “It is hard to imagine a more thoroughly convincing likeness or better drawing than the small work by Helen Brooks.” One can imagine Brooks appreciating Bywaters’ complimentary words; however, she may have raised an eyebrow at an earlier section of the 1936 article, where Bywaters applauded what he saw as the exhibition artists’ lack of vanity: “In most cases,” he wrote, the self-portraits on display “attempt to make a good rendering of a person who may be considered detachedly as a personality or a lemon [something substandard, disappointing].” Ouch, Jerry.  
 
Bywaters’ mixed messaging aside, Profile and the later, three-quarters-view portrait reveal Brooks to be both a talented artist and a woman with a keen sense of style. She skillfully captures distinctive facial features like her sharp cheekbones; bow-shaped, downturned lips; and receding chin. Her glossy black bob with short, blunt bangs and finger waves, as well as her thinly plucked, arched brows, wouldn’t look out of place on a 1920s movie starlet—a photograph that accompanied news of Brooks’s recent wedding in October 1936 could practically double as a Golden Age Hollywood headshot. #HaircutGoals 

Clip from Dallas Morning News, “Back from Wedding Trip,” October 18, 1936

Melinda Narro is the McDermott Graduate Intern for American Art at the Dallas Museum of Art.

“The Master of the Moment” Takes Texas: Dior and Dallas

During the first ten years of the House of Dior’s existence, Dallas played a pivotal role in the label’s expansion across the Atlantic. Dallas was the first city that Christian Dior visited in the US, when he traveled in 1947 to receive the Neiman Marcus Award for Distinguished Service in the Field of Fashion (called the “Oscars of the fashion industry”).[1] Not only was Dior impressed by the city and by Neiman Marcus itself, which became from that point forward a major retailer of Dior, but he also became close friends with Stanley Marcus, the store’s then-owner. Their relationship is recorded in photographs taken by Marcus as well as in telegrams and letters now kept in the Stanley Marcus Papers at SMU. Collectively, they demonstrate the importance of Dallas to this iconic label and its founder.

Christian Dior accepting the Neiman Marcus Award from Stanley Marcus, 1947, gelatin silver print, DeGolyer Library, Southern Methodist University

Dior’s 1947 visit to Dallas, when he was recognized with the Neiman Marcus Award as “master of the moment in the ranks of French couture,” introduced him to the world of American fashion.[2] Honored alongside Italian shoe designer Salvatore Ferragamo, British fashion designer Norman Hartnell, Hollywood costume designer Irene, and actress Dolores del Rio, Dior presented his revolutionary “New Look” to the American South with three outfits specially commissioned for the exposition.[3] The trip inspired him to think of adapting his work to the less formal dressing style of American consumers.[4] A year after his Dallas trip, Dior created his Christian Dior-New York label of ready-to-wear outfits for the American lifestyle. Sold primarily through the house’s boutique in New York, the label was also sold in select stores throughout the US, including at Neiman Marcus.[5] Dior likely exhibited works from this new label when he returned a second time to Dallas in 1950 to show outfits and examples from his new line of men’s ties.[6] Dallas was the site of a major exhibition of Dior’s fashion again in 1954 when it was the only US stop in a Pan-American tour of the recent Paris line.[7]

Christian Dior handing a flower to Billie Marcus, La Colle Noire, photo by Stanley Marcus, 1954, gelatin silver print, DeGolyer Library, Southern Methodist University

During this time, Stanley Marcus and Dior continued to develop their friendship. Numerous photos in the collection show that Marcus visited Dior in France at both his Paris apartment and his country home in Grasse. Letters and telegrams back and forth show the two discussing business as well as personal events in their lives. The relationship between Dior and Stanley Marcus resulted in a large representation of Dior’s products at Neiman Marcus’s 1957 French Fortnight, a two-week-long event that honored the store’s fiftieth anniversary. The accompanying booklet highlighted the range of goods from France’s most well known brands available for purchase, as well as local events celebrating French culture. Dior was represented in a stall that reproduced the original boutique on the Avenue Montaigne, and the company launched its perfume Diorissimo there.[8] Dior was unfortunately unable to attend, and, in fact, he would die before the Fortnight ended. Nevertheless, Dior’s close relationship with Dallas was highlighted by the fact that a poster advertising the Fortnight hung for a time in Dior’s Paris boutique.[9] The next year, Yves Saint Laurent’s first US visit was also to Dallas to receive the Neiman Marcus Award, citing the trip his predecessor took 11 years before.[10] Dallas was a clear focal point of activity for Christian Dior and a city of enormous symbolic importance, and it is therefore appropriate that the man and his label are currently being celebrated at the DMA.

Stanley Marcus and Yves Saint Laurent, photo by Georgette de Bruchard, 1958, gelatin silver print, DeGolyer Library, Southern Methodist University

My thanks to Hillary Bober, archivist at the DMA, Natalie “Schatzie” Lee, research volunteer, and the librarians at SMU for their assistance in this research.

Get a closer look at more archival materials that illustrate Dior’s history with Dallas in Dior: From Paris to the World, on view through September 1. Timed tickets are required for all visitors of the exhibition, which can be purchased in advance here.

Nicholas de Godoy Lopes is the McDermott Intern for Decorative Arts and Design at the DMA.


[1] Marihelen McDuff, Neiman-Marcus Award press release (Dallas: Neiman-Marcus, 1947), 1.
[2] Tenth Annual Fashion Exposition Show invitation (Dallas, Texas: Neiman-Marcus, 1947), 2.
[3] McDuff, Neiman-Marcus Award press release, 3.
[4] Alexandra Palmer, “Global Expansions and Licenses,” in Dior: A New Look, A New Enterprise, 1947-1957 (London: V&A Publishing, 2009), 78.
[5] Ibid.
[6] Katherine Dillard, “Christian Dior Says Fashion Will Stress Feminine Curves,” The Dallas Morning News, October 17, 1950.
[7] Palmer, “Global Expansions and Licenses,” 107; “Dior’s Paris Collection to Make Only U.S. Appearance in Dallas,” The Dallas Morning News, November 7, 1954.
[8] Anne Wright to Stanley Marcus, May 1, 1957; Neiman-Marcus, Neiman-Marcus Brings France to Texas: Everything from A to Z (Dallas: Neiman-Marcus, 1957), unpaginated.
[9] Stanley Marcus to Christian Dior, October 2, 1957.
[10] “For N-M Award: Shy Young Designing Genius Plans First Trip to America,” The Dallas Morning News, August 2, 1958.

 

The Texas Kid and “True Stories”

One hour into David Byrne’s 1986 movie True Stories, John Goodman’s character, Louis Fyne, parks his car in front of the eccentric house of a voodoo practitioner. A sign reading “Invisible Hospital of Saint John the Baptist” is barely visible in the nighttime. That sign was hiding another sign that read “The Texas Kid.” The actual owner of the house with a fantastically decorated yard was Willard “The Texas Kid” Watson.

Filming the “Dinero” music video at The Texas Kid’s house in 1984. Top row, left to right: Charlene Dawkins, Lee Gonzalez, George Reiff, Dick Ross, Willard Watson, Kris Cummings, David Byrne, Joe “King” Carrasco. Seated on bottom row, left to right: Adelle Lutz, Georganne Deen. © Christina Patoski

Willard Watson, a.k.a. The Texas Kid, was a folk artist born in Caddo Parish, Louisiana, and raised in Dallas, Texas. He was a local celebrity, recognized for his customized cars, flashy outfits that he sewed himself, and the sculpture garden outside his home near Love Field Airport. Fourteen of his drawings are in the DMA’s collection. The first drawings were acquired just three months after the movie was filmed.

As Watson recalled in his autobiography, “That year, 1985, David Byrne, who had a famous band called Talking Heads, came by the house and asked if he could film part of his movie TRUE STORIES at my house.”

Christina Patoski, a journalist and photographer from Fort Worth, served as a special consultant for the movie. David Byrne called her in 1984, after a mutual friend recommended Patoski to be a point of contact in Texas, and said he was working on a film. In the summer of 1984, Byrne, Patoski, and some friends drove around for three days scouting locations in Dallas and surrounding counties that Byrne imagined as settings for the fictional town of Virgil, Texas. Patoski took photographs during the initial trip and throughout the filming of the movie.

Patoski suggested that Byrne come back in the fall during the State Fair. He returned in October and brought Jonathan Demme, the director of Stop Making Sense. At that time, Patoski was directing a music video for Joe “King” Carrasco staged in the The Kid’s yard. They visited her there and met Watson and saw his incredible yard and home. Byrne decided to use it as a location in True Stories. Demme purchased some of Watson’s drawings and later cast him in his feature film Something Wild.

Byrne and crew came back in August of 1985 and started filming in early September. Patoski says it was an intense six-week shoot. Watson recalled:

“Elnora and I said yes, but we had to give up the use of our home for almost two weeks. They would work all day and often until two or three in the morning. The crew was all over the place. . . . At night, the cast and crew liked to party at nightclubs, particularly Shannon’s club, Tango. . . . I even went to their wrap party at Sons of Herman[n Hall.]”

Watson in the “voodoo room,” built in the dining room of his house in 1985. © Andy Reisberg

While Watson himself doesn’t appear in the movie, his wife, Elnora, and one of their grandsons had roles as the wife and son of the shaman, played by Pops Staples. Patoski says they built the “voodoo room” for the movie, but the rest of the house, filled inside and out with Watson’s art, hardly had to be changed.

While True Stories was filming, a solo exhibition of Watson’s art was on view at the Bath House Cultural Center at White Rock Lake. It was there that a curator from the DMA saw his Life Cycle drawings, and after showing them to the director of the DMA plans were made to acquire them. “I was really really proud for my work to be acquired by the Dallas Museum of Art,” wrote Watson.

Click images to expand.

Lillian Michel is the Marketing and Communications Coordinator at the DMA.

Paper Collecting: A Peek into the Archives

Did you know that in addition to keeping records that document the Museum’s activities from the past to the present for the future, the DMA Archives also collects personal papers from Dallas-based artists and galleries? I’ve previously highlighted a few things from these collections—here, here, and here are a few examples—but it has been awhile. As our quadrant galleries currently feature a group of exhibitions by female artists in the DMA’s collection, here are a few cool things from archival special collections of women artists and a women-run cooperative gallery.

Color Equations installation photo book, Pamela Nelson Papers

Artist Pamela Nelson has done a number of public art projects around Dallas. One of my favorites is Color Equations at NorthPark Center, which she created with author Robert A. Wilson. The Pamela Nelson Papers contain preliminary sketches, design and fabrication plans, and the catalogue for the initial installation exhibition.

Color Equations, Pamela Nelson Papers

Color Equations, Pamela Nelson Papers

While less visual, the exhibition list from the Coreen Mary Spellman Papers is incredibly useful for someone researching Spellman’s work, as it documents the exhibitions in which her work appeared and which works were accepted for the show.

 

The DMA Archives also holds records from the DW Gallery, also known as the Dallas Women’s Gallery. The gallery was founded in 1975 by Linda Samuels with several other women. It was incorporated in 1978, and later managed by Diana Block from 1981 until it closed in 1988. In addition to administrative, legal, and artist records, the collection also contains textiles—T-shirts promoting the gallery.

DW Gallery T-shirts

Information about these and other special collections in the DMA Archives can be found at DMA.org/research/archives or in the library catalog.

Hillary Bober is the Archivist at the Dallas Museum of Art. 

Second Blooming

Alexander Calder’s Flower is back in the galleries after undergoing recent treatment in the Objects Conservation Lab. This mobile, a highlight of the collection, was given to the Museum in 1949, after it was commissioned for the Dallas Garden Club Flower Show by Mrs. Alex Camp and the Dallas Garden Club. The acquisition marked the beginning of the Museum’s contemporary art collection.

Fig03

An early photo of Flower from the DMA Archives.

In recent decades, Flower has not flowed or moved as Calder originally intended because of damage that occurred in 1979. While installed at the Museum’s former home in Fair Park, the mobile fell two stories and crashed to the ground after its hanging attachment failed. This caused loss of paint and some minor structural changes to the mobile’s elements. Because the piece is very carefully balanced in its construction, and weighs only four pounds overall, these slight deformations created noticeable alterations in how the mobile moved. Paint losses were addressed at the time, but all attempts to return the mobile to its original form were ultimately unsuccessful.

In preparation for Flower’s current display, DMA Associate Objects Conservator Fran Baas and I performed a conservation treatment this past fall. Our work enabled the mobile to move again in a way that more closely represents Calder’s original design. It also provided a unique opportunity to learn more about Flower’s history.

 

As we worked with DMA Archivist Hillary Bober to examine Calder’s original 1949 drawings and archival photographs of an early 1950s installation, subtle differences became clear. Most notably, one central metal hook was bent in an entirely different position than it had been. The changed areas were carefully manipulated back to their original positions to the extent that was safely possible. Although these repairs were very small, they created big changes in how the mobile moves overall.

Fig04

Flower on display after recent conservation treatment.

After many years, Flower finally hangs in a way that is much closer to what Calder intended. This beautiful floating sculpture is now on view in the Museum’s Concourse overlook on Level 3.

Elena Torok is the Assistant Objects Conservator at the DMA.

 

A Caribbean-Style Blast from the Past

Whenever I peruse the DMA’s photography collections in the archives, I find something unique in history that catches my eye. Sprinkle a bit of research on top, and voilà . . . I’ve uncovered something for Uncrated!

This time my interest was sparked when I saw this photo of a palm tree in the galleries. And my curiosity grew when I spied a Carmen Miranda-esque basket of fruit and oversize seashells next to it.

Gulf Caribbean International Art Exhibition, June 3–July 13, 1956
Southern Methodist University, Hamon Arts Library, Bywaters Special Collections Gift of Dr. Richard Bywaters and Mrs. Jerry Bywaters Cochran

The palm tree, and the other Caribbean-type accoutrements, added to the atmosphere of the DMFA’s installation of the Gulf Caribbean International Art Exhibition in 1956. The exhibition was organized by the Museum of Fine Arts, Houston to celebrate the work of contemporary artists living in the areas surrounding the Gulf of Mexico and the Caribbean Sea: Colombia, Costa Rica, Cuba, Dominican Republic, El Salvador, Guatemala, Haiti, Honduras, Jamaica, Mexico, Nicaragua, Panama, Puerto Rico, Surinam, Trinidad, Venezuela, Alabama, Florida, Louisiana, Mississippi, and Texas. The exhibition was large, with over 160 works, including paintings, sculpture, and ceramics.

Gulf Caribbean International Art Exhibition, June 3–July 13, 1956
Southern Methodist University, Hamon Arts Library, Bywaters Special Collections Gift of Dr. Richard Bywaters and Mrs. Jerry Bywaters Cochran

It was also sponsored by Brown & Root, Inc., a heavy engineering and construction company, which allowed for ten purchase prizes for MFA Houston. Prizes were awarded to six foreign and four American artists. The three top $1,000 prizes went to Alejandro Obregon of Colombia; Cundo Bermudez of Havana, Cuba; and Seymour Fogel of Austin, Texas (“Foreigners Take Over Art Prizes,” Dallas Morning News, April 5, 1956).

Gulf Caribbean International Art Exhibition, June 3–July 13, 1956
Southern Methodist University, Hamon Arts Library, Bywaters Special Collections Gift of Dr. Richard Bywaters and Mrs. Jerry Bywaters Cochran

The DMFA installation of the exhibition, which traveled to four other venues after it closed in Dallas, was considered to be “as invigorating a treat that has come our way in many seasons. There is creative taste in its selection (and creative display)” (“Collection Has Talent to Spare,” Dallas Morning News, June 3, 1956). The author of the article continues the compliment: “the uniformly high level of quality in the paintings [is] matched for a change in the sculpture and ceramic entries with favorites hard to come by.” The exhibition would be remembered and noted as one of the most important exhibitions of 1956 in both Seventy-five Years of Art in Dallas (1978) by Jerry Bywaters and Now / Then / Again: Contemporary Art in Dallas 1949-1989 (1989) by Richard R. Brettell.

Gulf Caribbean International Art Exhibition, June 3–July 13, 1956
Southern Methodist University, Hamon Arts Library, Bywaters Special Collections Gift of Dr. Richard Bywaters and Mrs. Jerry Bywaters Cochran

I hope you have found this 1956 visit to the Gulf and Caribbean eye-catching and interesting as well.

Hillary Bober is the Archivist at the DMA. 

 

 

Art as Spectacle

With all of the exciting openings and events currently taking place at the Museum, it’s interesting to pause and take a look back at installations from our past—especially this one highly ambitious execution that included a lagoon!

David McCullough, Baggie Mantra Sanctorum March, June 12, 1971

On Saturday, June 12, 1971, artist David McCullough executed a performance sculpture around and in the Fair Park Lagoon.

McCullough conceived of the project as a one-act play to be “performed” by himself and his assistants. Musicians were also on-site improvising music in reaction to the performance.

David McCullough, Baggie Mantra Sanctorum March, June 12, 1971

The sculpture consisted of large plastic bags filled with clear or colored water connected by a nylon cord. The performance consisted of a procession of the baggies from the far side of the lagoon, across the water, and along the bank, ending at the Museum steps. The sculpture remained on view for about a week after the performance.

David McCullough, Baggie Mantra Sanctorum March, June 12, 1971

David McCullough, Baggie Mantra Sanctorum March, June 12, 1971

More information about the work can be found in the press release.

Hillary Bober is the Archivist at the Dallas Museum of Art. 

We’ve Come a Long Way!

Since 1977 the International Council of Museums (ICOM) has promoted an annual International Museum Day, on or around May 18, to highlight how “museums are an important means of cultural exchange, enrichment of cultures and development of mutual understanding, cooperation and peace among peoples.” Beginning in 1992, ICOM has created a theme for the annual event. The theme for 2018 is Hyperconnected museums: New approaches, new publics.

With this theme in mind, I thought it would be interesting to take a look back at one of the DMA’s earliest attempts at hyperconnectivity, our forays onto the Internet.

In 1993 the DMA was one of the first museums to go online with a gopher site, a text-based site of menus and documents, and a listing on Compuserve, the first major online services provider. The Museum also acquired two email addresses for staff to use, monitored by library staff members.

DMA website, circa 1994-1998, Homepage

DMA website, circa 1994-98

In January 1994 the DMA launched its first website. The DMA was one of the first five museums to go online with “click and view” access for visitors, presenting 200 images of collection objects. This site was hosted on University of North Texas (UNT) web servers. The DMA site was named one of the 1001 best Internet sites by PC Computing magazine in December 1995.

DMA website, circa 1998-2003, Homepage

DMA website, circa 1998-2003

By 1996, the Museum was outgrowing its UNT site and created an Internet Committee to evaluate the website and brainstorm content and ideas for what the site could be. This work resulted in the launch of a new website on DMA servers with a DMA domain name, DallasMuseumofArt.org, in the summer of 1998.

DMA website, circa 2003-08, homepage

DMA website, circa 2003-08

Since this time, the DMA website has continued to evolve in design and with new technological capabilities. The website underwent major redesigns in 2003, 2008-09, 2013 and, most recently, summer 2017 with the new enhanced Collections Online. All of these redesigns had the goal of providing more content and general information for the Museum’s multiple audiences in an easier-to-use package. DMA.org will continue to evolve with these same goals for future users.

DMA website, circa 2008-13, homepage

DMA website, circa 2008-13

Hillary Bober is the Archivist at the Dallas Museum of Art.

The Mayer Library Collects: Pacific Standard Time: LA/LA

Of the work we do in the library, one of the most enjoyable is collection development…  A.K.A buying books! Materials purchased for the library’s collection primarily support research on the DMA’s encyclopedic collection and exhibitions. One of the most significant areas in which the library collects is exhibition catalogues published by museums and galleries from all over the world. Exhibition catalogues provide current research, photographs, and documentation of works of art, and function as primary sources of historical information for scholars.

A great example of this is the recent purchase of over 20 catalogues from the Pacific Standard Time: LA/LA exhibition program. Pacific Standard Time (PST) is a collaborative program established in 2011 that brings Southern California arts institutions together to present exhibitions on a particular theme connected to the Los Angeles region. Previous iterations were Art in L.A. 1945-1980 and Modern Architecture in L.A. The 2017-2018 PST iteration, LA/LA, explored Latin American and Latino art, featuring art from ancient times to the present across a variety of disciplines.

The catalogues from this series of exhibitions will serve as authoritative resources for the study of Latin American art at the DMA. For example, the exhibition Golden Kingdoms: Luxury and Legacy in the Ancient Americas featured the DMA’s Incan checkboard tunic, which is also discussed in the catalogue (page 172, catalog no. 73).

And there were two career survey exhibitions for artists in the DMA collection: Valeska Soares and Adriana Varejão.

Here are a few more highlights:

You can see a list of all the Pacific Standard Time catalogues held by the Mayer Library here.

The Mayer Library is open to the public. Check the library’s page on DMA.org for current hours.

 

Jenny Stone is the Librarian at the DMA.

A Dallas Arts Patroness . . . Identified

This photo has been popular in Museum histories for a long time. It was used in the book Seventy-Five Years of Art in Dallas: The History of the Dallas Art Association and the Dallas Museum of Fine Arts (1978) by Jerry Bywaters; the 90th Anniversary Timeline; and the 2003 Centennial history exhibition, and she has always been identified as a “Dallas arts patroness.”

The panel of the image from the 2003 exhibition currently hangs in the Archives. When curators come down, they always search to see if any of the paintings in the photo are part of the collection, though nothing is familiar. I have always thought that the paintings in the photo were from one of the Dallas Art Association’s (DAA) early annual exhibitions, but I had no idea which one. Then I came across a memo that identified the painting at her feet as an Albert Pinkham Ryder work that was to be part of the 2002 Gilded Age exhibition touring from the Smithsonian American Art Museum. I was thrilled with this clue because now I could search the digitized exhibition catalogues and figure out the exhibition to at least date the photo.

It turns out that the painting in the photo was not the one in the exhibition, but a different Ryder painting of a ship at sea. Using books on Ryder from the library, I was able to identify the work as Ryder’s painting The Waste of Waters is Their Field, now in the collection of the Brooklyn Museum.

Albert Pinkham Ryder (American, 1847-1917). The Waste of Waters is Their Field, early 1880s. Oil on panel, 11 5/16 x 12 in. (28.8 x 30.5 cm). Brooklyn Museum, John B. Woodward Memorial Fund, 14.556 (Photo: Brooklyn Museum, 14.556_SL1.jpg)

With the new information, I could search for this painting in the digitized catalogues. I identified the exhibition as being from the Third Annual Exhibition: American Art from the Days of the Colonists to Now, held by the DAA at the Adolphus Hotel’s Palm Garden, November 16-30, 1922.

By using the exhibition checklist in the catalogue, with a bit of library and internet searching, I was able to definitively identify two of the other works in the photo, with educated guesses on two others. The oval painting is Mother and Child: A Modern Madonna by George de Forest Brush, also in the collection of the Brooklyn Museum.

George de Forest Brush (American, 1855-1941). Mother and Child: A Modern Madonna, 1919. Oil on canvas, 43 1/2 x 35 5/8 in. (110.5 x 90.5 cm). Brooklyn Museum, Museum Collection Fund and by subscription, 19.93 (Photo: Brooklyn Museum, 19.93_transp3194.jpg)

The painting leaning on the settee below it is Arthur B. Davies’ Banquet to a Hero, identified from the article “Davies the Absolute” by F. Newlin Price in the June 1922 issue of International Studio.

F. Newlin Price, “Davies the Absolute,” International Studio LXXV, no. 301, June 1922, p. 213-19.

Now I had the exhibition and date, but I still had no idea who the “patroness” was. Time for a different tactic.

The exhibition was curated for the DAA by Robert MacBeth of the MacBeth Gallery, and being a good archivist, I went searching for records from the gallery in hopes of finding a new clue. I found the records at the Archives of American Art. Using the digitized scrapbooks from the MacBeth Gallery Records, I found a whole section of news clippings related to the Dallas exhibition in the 1922 scrapbook.

I was flipping through these pages, when all of a sudden, there was my patroness photo!

MacBeth Gallery Records, Archives of American Art, Scrapbook 8, 1922 January-1924 December.

The photo illustrated the November 13, 1922, Dallas Times Herald article “Noted Concert Singer Delighted Over Collection of Art Treasures in Dallas.” The concert singer is Madame Louise Homer. She knew Robert MacBeth from his New York gallery and he invited her to preview the exhibition while in Dallas for a performance at the coliseum. So, the woman in the photo is technically an art patroness, just not a Dallas one.

The other paintings in the photo are also identified in the article, and I am happy to say that my educated guesses were correct.

This was a fun research project to work on, and happily it resulted in definitive answers and a mystery solved—if only they were all like that.

Hillary Bober is the Archivist at the Dallas Museum of Art. 


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