Queries.

On April 18, 1838, an act of the New York State Legislature incorporated the 'Green-Wood Cemetery for the purpose of establishing a public burial ground in the City of Brooklyn." David Bates Douglass, a civil engineer, was chosen as its landscape architect and first president He designed the cemetery to include majestic streams and lakes, and integrated scenic elements such as Vista Hill, Camelia Path, and Sylvan Cliff, The architectural firm of Richard Upjohn and Son designed an entrance gateway on Fifth Avenue in the late Gothic revival style that was completed in 1863. In the mid-nineteenth century Green-Wood presented an alternative to the traditional churchyard cemetery. It became fashionable after the body of former New York governor De Witt Clinton was moved there from Albany in 1853, Soon thereafter, the cemetery became a popular tourist site, supplemented by guidebooks and guided tours. It now consists of 478 acres of land with nearly 560,000 graves. Among those buried there are George Bellows, Leona rd Bernstein, Samuel F. B. Morse, Duncan Phyfe, Louis Comfort Tiffany and William Marcy "Boss" Tweed. The Green-Wood Historic Fund seeks objects pertaining to the cemetery and interments, including paintings, prints, books, and photographs for its archives and forthcoming exhibitions at the cemetery.

Jeffrey I. Richman

Historian

Green-Wood Historic Fund 500-25th Street

Brooklyn, New York 11232

The Society of American Artists, founded in New York City in 1877, is the subject of an exhibition (with an accompanying catalogue) to be on view in 2006 and 2007 at the National Academy of Design in New York City. The society presented the first viable challenge to the conservative art establishment in the United States and, as such, helped lay the groundwork for the advent of modernism at the beginning of the twentieth century. The exhibition will address the contributions the society made in that regard and, for the first time, document the organization's 130-year history, its innovative exhibition policies, and its place in the history of American art. Information about paintings and sculptures shown in the society's annual exhibitions between 1878 and 1906 as well as documentation regarding the roles of artists and nonartists in the society's programs and governance would be greatly appreciated. Those with relevant information should contact:

David B. Dearinger