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Betty Parsons Gallery records and personal papers

Creator:
Parsons, Betty  Search this
Names:
Betty Parsons Gallery  Search this
Mortimer Brandt Gallery (New York, N.Y.)  Search this
Wakefield Gallery  Search this
Alloway, Lawrence, 1926-1990  Search this
Baker, Adge, b. ca. 1890  Search this
Bess, Forrest, 1911-1977  Search this
Bigelow, Larry  Search this
Calder, Alexander, 1898-1976  Search this
Congdon, William, 1912-  Search this
Feely, Paul, 1910-1966  Search this
George, Thomas, 1918-  Search this
Janis, Sidney  Search this
Lazzari, Pietro, 1898-1979  Search this
Liberman, Alexander, 1912-1999  Search this
Lipton, Seymour, 1903-  Search this
Margo, Boris, 1902-1995  Search this
Newman, Barnett, 1905-1970  Search this
Parsons, Betty  Search this
Pollock, Jackson, 1912-1956  Search this
Pousette-Dart, Richard, 1916-1992  Search this
Reichek, Jesse, 1916-  Search this
Reinhardt, Ad, 1913-1967  Search this
Roberts, Colette, 1910-  Search this
Rothko, Mark, 1903-1970  Search this
Stamos, Theodoros, 1922-1997  Search this
Still, Clyfford, 1904-  Search this
Youngerman, Jack, 1926-  Search this
Extent:
57.2 Linear feet
Type:
Archival materials
Collection descriptions
Sketchbooks
Interviews
Photographs
Date:
circa 1920-1991
bulk 1946-1983
Summary:
The Betty Parsons Gallery records and personal papers measure 57.2 linear feet and date from 1920 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons' personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection.
Scope and Content Note:
The Betty Parsons Gallery records and personal papers measure 57.2 linear feet and date from 1920 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons' personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection. An unprocessed addition donated in 2017 includes personal correspondence with friends and colleagues, writings by Parsons, artists' files, photographs of Parsons with friends and her works of art, artwork including sketches, printed material and a VHS recording about the Chinese text I Ching. Materials date from 1922-1981.

Artists files, the largest and most extensive series, consist of a wide variety of documents, including biographical materials, correspondence with or related to the artist, exhibition catalogs and announcements, sales and expense invoices, clippings, price lists, and photographs of the artist, exhibitions, and artwork. The files reflect Parsons' close personal relationships with certain artists, particularly Jackson Pollock, Mark Rothko, Clyfford Still, and Barnett Newman. Extensive documentation is also found for Forrest Bess, William Congdon, Paul Feeley, Thomas George, Alexander Liberman, Seymour Lipton, Richard Pousette-Dart, Jesse Reichek, and Jack Youngerman. Historians and researchers will find these files to be an invaluable resource both in tracing Betty Parsons' role in promoting Abstract Expressionism and researching individual artists.

Exhibition files primarily document the gallery's infrequent group or themed exhibitions. Of particular note are the files on The Ideographic Picture, which was organized by Barnett Newman and included his work, as well as that of Pietro Lazzari, Boris Margo, Ad Reinhardt, Mark Rothko, Theodoros Stamos, and Clyfford Still. Price lists, artist biographies and exhibition schedules are housed in the general exhibition files. Loan exhibition files provide documentation of artwork borrowed by other galleries or institutions for exhibitions, as well as shows outside of the gallery that were organized by Betty Parsons. Also found are gallery exhibition guest books, and announcements and catalogs.

Gallery correspondence is primarily with galleries and dealers, museums, arts organizations, and collectors. Scattered letters from artists are also found, although the bulk of the artists' correspondence is filed in the Artists Files. Also found here are memoranda and letters between Betty Parsons and her staff that contain detailed information concerning Parsons' schedule and gallery activities. Similar correspondence is found amongst the correspondence files within the series Betty Parsons papers.

Appraisal and conservation files include correspondence, appraisal invoices, forms, and appraisal requests and other information from the Art Dealers Association of America, and conservation invoices and reports. The majority of the appraisal records contain information about the specific works of art, including artist, title, date, current owner and the estimated value at the time of the request. Conservation records document conservation treatments undertaken by outside conservators to gallery stock.

Sales, purchases, stock and inventory are well documented in the sales and inventory records. The records provide detailed information about individual sales, prices of individual pieces of artwork, consignments, and loans. Most sales records also include detailed information about the buyer and are a valuable resource for provenance research. Files documenting the general administration, routine business operations, and financial transactions (not individual sales) of the gallery are housed in the general business and financial records. These records include ledgers, receipts, tax records, and banking records. There is some limited information about works of art scattered amongst the receipts and in the "in/out slips" files. Legal records house general legal documents and those concerning specific lawsuits. Of particular note is the file detailing the lawsuit between Betty Parsons and Sidney Janis over the fifth floor of 24 West 57th Street.

The remainder of the collection consists of Betty Parsons' personal papers which document Parsons' career prior to opening her own gallery, her work as an artist, and her personal art collection.

Some information about Parsons' work prior to opening her own gallery is found in the early curatorial files she retained from her curatorial and administrative work at the Wakefield Gallery and the Mortimer Brandt Gallery. Clippings, correspondence, announcements, exhibition lists and exhibition files are found. For both positions, she kept only the exhibition files for a small group of exhibitions organized around a specific theme, the most notable being the exhibition of Pre-Columbian Sculpture at the Wakefield Gallery.

Biographical materials include copies of her biography, family genealogies, photographs of Parsons, interviews with Colette Roberts and WYNC radio, memberships, photographs, and ephemera, including a collection of programs and invitations from events that she attended. Throughout her life Parsons gave generously of her time to various cultural and charitable institutions and was awarded for her contributions. There are also a number of files that document her speaking engagements, her participation as a juror in numerous juried exhibitions, charitable work, and awards that she received.

Parsons' personal correspondence files reflect how deeply Parsons' life was intertwined with the gallery. There are letters from museum directors, dealers, artists seeking representation, and personal letters from artists with whom she had close personal relationships, most notably Larry Bigelow, Alexander Calder, William Condon, and Ad Reinhardt. There are also letters from the English artist Adge Baker, with whom Parsons was romantically involved. Correspondence also includes several files of postcards and Christmas cards.

Pocket diaries and engagement calendars, spanning from 1933-1981 (although the 1950s are notably missing) record social engagements, meetings, vacations, and telephone numbers. Also found are three notebooks, and thirty-two sketchbooks, many of which are annotated. Writings by others include writings about Betty Parsons or the Betty Parsons' Gallery, such as Lawrence Alloway's unpublished typescript titled "An American Gallery" and other topics.

Printed material consists of exhibition announcements and catalogs, art magazines, and newspaper and magazine clippings about Betty Parsons, her family and acquaintances, artists, and other art related topics, coupled with a miscellaneous selection of clippings on topics that presumably captured Parsons' attention.

Personal art work records document Betty Parsons' career as an artist through inventories, group and solo exhibitions files, price lists, appraisals, sales and consignment invoices. Photographs are primarily reproductions of her works of art, although there are scattered photographs of exhibition installations.

Betty Parsons private art collection files document Parsons extensive personal collection of art that included works by Jackson Pollock, Agnes Martin, Romare Bearden, Barnett Newman, and Mark Rothko, in addition to Amlash sculpture from ancient Persia and primitive sculpture from New Hebrides. These files include inventories, lists, exhibition records, sales and purchase invoices, and photographs. There are also files for donations and loans from Parsons' personal collection to museums and fund raising auctions for several non-profit institutions.

Finally, the personal financial records provide information about the Parsons' family finances and her personal financial success as an art dealer. In addition to her own investments, Parsons inherited shares in family investments through the estates of her parents, J. Fred Pierson, Jr. and Suzanne Miles Pierson, and younger sister, Emily Rayner. Real estate files include correspondence, utility bills, receipts, area maps, and land plots for houses in Sheepscot, Maine and St. Maartens, Netherlands Antilles. Tax returns, ledger worksheets, receipts, banking statements, deposit slips, and cancelled checks are among the other financial records.
Arrangement:
The collection is arranged as seven series. Many of the series are further divided into subseries.

Series 1: Artists Files, 1935-1983 (Boxes 1-18, 51, 55, OVs 53, 60; 18.8 linear feet)

Series 2: Exhibition Files, 1941-1983 (Boxes 18-21, 51, 55, OVs 54, 61; 3.8 linear feet)

Series 3: Correspondence Files, 1941-1983 (Boxes 21-24, 52, 55); 3.8 linear feet)

Series 4: Appraisal Files, 1935-1983 (Box 24; 0.7 linear feet)

Series 5: Sales and Inventory Records, 1941-1983 (Boxes 25-28, 51; 3.0 linear feet)

Series 6: General Business and Financial Records, circa 1956-1983 (Boxes 28-38, 51, 55; 9.8 linear feet)

Series 7: Betty Parsons Personal Papers, circa 1920s-1991 (Boxes 38-51, 55-59, OV 61; 15.3 linear feet)
Historical Note:
Betty Parsons (1900-1982) was one of the leading art dealers in New York City specializing in modern art, particularly the work of the Abstract Expressionists. She opened Betty Parsons Gallery in 1946 at 15 E. 57th St., later moving to 24 W. 57th St.

The history of the Betty Parsons Gallery is inextricably bound to the life and experiences of its founder. Betty Parsons was born Betty Bierne Pierson on January 31, 1900 in New York City. She enjoyed a privileged childhood, which included vacation homes in Newport and Palm Beach. Her only formal education was a five year stint at the prestigious Chapin School from 1910-1915, where she met many of the women who would become life long friends and supporters. In the spring of 1920, she married Schuyler Livingston Parsons from one of New York's oldest families. The marriage ended after only three years and the couple traveled to Paris where they could obtain a divorce on the grounds of incompatibility. She retained her married surname and purchased a house on the rue Boulard in Paris, where she remained for ten years, pursuing studies in painting and sculpture.

Financial constraints forced Parsons to return to the United States in 1933. She first traveled west to California, but it was her return to New York in 1935 that marked the start of her career as an art dealer. Her first opportunity to connect with the New York art world came after a successful exhibition of her watercolors at the Midtown Galleries where the owner, Alan Gruskin, noted Parson's faithful and wealthy group of supporters and offered her work installing exhibitions and selling paintings on commission. Her work for the Midtown Galleries led to a second position in the Park Avenue gallery of Mary Sullivan, one of the founders of the Museum of Modern Art. Here, Parsons learned the business of running a gallery. By 1940 Parsons was ready to take on more independent responsibility and agreed to manage a gallery within the Wakefield Bookshop. In this job, she exercised full curatorial control by selecting artists and organizing exhibitions. She championed then unknown contemporary American artists and the gallery's roster soon included Saul Steinberg, Hedda Sterne, Alfonso Ossorio, Joseph Cornell, Walter Murch, and Theodore Stamos. Although the majority of the exhibitions were solo shows, there were a few group shows and themed exhibitions, such as Love in Art (1941) and Ballet in Art (1942). Under Parson's direction, the gallery hosted an important exhibition of Pre-Columbian sculpture, curated by Barnett Newman.

When the owners of the Wakefield Bookshop decided to close the gallery late in 1944, Mortimer Brandt, a dealer who specialized in Old Master paintings and drawings, offered her a position as head of the newly created contemporary section of his gallery. Many of the artists who had shown with Parsons at the Wakefield Gallery followed her to her new gallery, where they were joined by Ad Reinhardt, Boris Mango, and Hans Hofmann. While the exhibitions garnered attention from the press and the interest of contemporary artists, the contemporary section was not a financial success and Brandt opted to close his gallery in 1946.

Using $1000 of her own money and an additional borrowed $4000, Parsons sublet the space that previously housed Mortimer Brandt's contemporary section, on the fifth floor of 15 East 57th Street, and opened the Betty Parsons Gallery.

In many respects the early years of the Betty Parsons Gallery were the most vital, as it was during the period of 1947-1951 that the gallery became linked with the Abstract Expressionists and the history of post-WWII American Art. In an unpublished history of the gallery, noted art critic Lawrence Alloway stated that the significance of the gallery's early exhibitions ranks with Durand-Ruels Impressionists exhibitions or Kahnweiler's shows of the Cubists. Betty Parsons Gallery quickly became one of the most prestigious galleries in New York City associated with new American Art of all styles. Her close friend Barnett Newman organized the gallery's inaugural exhibition of Northwest Coast Indian Art and he soon began to exhibit his own work at the gallery. When Peggy Guggenheim's Art of This Century Gallery closed, Jackson Pollock, Clyfford Still, and Mark Rothko joined Parsons' growing stable of artists. Although Parsons continued to promote and exhibit many of the artists whom she had previously discovered, these four artists dominated this period. Newman, Pollock, Still, and Rothko worked closely together, holding themselves apart from the other artists somewhat. They were actively involved in the curatorial process and often hung their own shows. For these artists, the exhibition itself was an artistic act of creation.

Parsons provided a supportive environment and allowed her artists enormous freedom in planning and designing their exhibitions. She was not, however, an aggressive salesperson. During this early period the gallery ledgers document sales to an impressive array of museums including the Museum of Modern Art, the Whitney Museum of American Art, and the Art Institute of Chicago, as well as important collectors such as Edward Root and Duncan Phillips. Nevertheless, the art that the gallery promoted was not yet widely accepted. Sales were few, prices were low and the business would not turn a profit for several years. Meanwhile, there was mounting pressure from Pollock, Newman, Still, and Rothko to drop some of the other artists from Parsons' stable and focus all resources on them. They wanted to be promoted to a larger audience and have their work sold at higher prices, but Parsons enjoyed discovering new artists and did not want to be restricted in this endeavor. The year 1951 marks the last time that Pollock's drip paintings or the monumental works of Newman, Rothko or Still were shown at the Betty Parsons Gallery.

In the following years the Betty Parsons Gallery continued to attract a diverse group of talented artists. Ellsworth Kelly, Richard Tuttle, Robert Rauschenberg, and Jack Youngerman had their first New York exhibitions at the Betty Parsons Gallery. Parsons opened Section Eleven in 1958, a short-lived annex to the main gallery, so that she could promote younger, less well-known artists. It closed in 1960 due to the administrative difficulties in running two essentially separate galleries.

In 1962, Sidney Janis, another prominent art dealer, started proceedings to evict Parsons from the floor that they shared on 15 East 57th Street. The Betty Parsons Gallery moved to 24 West 57th Street in 1963, where it remained until it closed in 1983, following Parsons' death the preceding year. Throughout the gallery's history, Parsons continued to promote faithful artists such as Hedda Sterne and Saul Steinberg, who had been with her from the beginning and to seek out new talent, both for her main gallery and for other venues, such as the short-lived Parsons-Truman Gallery, which she opened in 1974 with former Parsons Gallery director Jock Truman to show works on paper by emerging artists.

In addition to being an art dealer, Betty Parsons was a respected artist and collector. With her connoisseur's eye and connections, Parsons amassed an impressive private collection of art. She bought her first piece while an art student in Paris in the 1920s, a small gouache by Zadkine, but did not begin acquiring works in earnest until she was established as an art dealer. Partial inventories of her personal collection show that the majority of her collection contained works by artists associated with the gallery. Mark Rothko, Hans Hofmann, Ad Reinhardt, Agnes Martin, and Kenzo Okada were among the artists represented. Many were gifts from the artists, such as an ink drawing by Jackson Pollock, inscribed "For Betty." Selections from her collection appeared in small museums across the United States, including a traveling exhibition organized by Fitch College, New York, in 1968. In her role as a promoter of contemporary American art, Parsons lent generously from her collection, particularly to the federal Art in the Embassies Program. Throughout her life she also donated works to a variety of museums, most notably, the Whitney Museum of American Art, Museum of Modern Art, New York, and the Louisiana Museum of Modern Art, Denmark.

Parsons frequently claimed that her desire to pursue a career as an artist stemmed from a visit to the Armory Show when she was thirteen. In her late teens, after pressuring her father for art lessons, she studied with the sculptor Gutzon Burglum of Mount Rushmore fame. In Paris, she continued her studies first with Antoine Bourdelle, whose sculptures she had admired at the Armory Show, and later with Ossip Zadkine. The first exhibition of her work, figurative watercolors and sculptures, took place in Paris in 1927. As she matured as an artist, her art became more abstract. Her late works were painted wood sculptures that she pieced together from wood that she found near her studio in Long Island. Parsons' work was exhibited in more than thirty solo exhibitions, including, Betty Parsons; Paintings, Gouaches and Sculpture, 1955-1968, at the Whitechapel Gallery in London. During her lifetime, she would not allow her works to be shown in her own gallery. Shortly after she died of a stroke in 1982, In Memoriam, Betty Parsons: Late Sculptures, opened at the Betty Parsons Gallery.
Related Material:
Also found in the Archives of American Art are oral history interviews with Betty Parsons, June 4-9, 1969, by Paul Cummings, and June 11, 1981 by Gerald Silk.
Separated Material:
Some of the material originally loaned for microfilming in 1968 and 1969 was not included in later donations and can be viewed on microfilm reels N68/62-N68/74 and N69/105-N69/106. Loaned materials are not described in the container listing in this finding aid.
Provenance:
The gallery donated some records in 1974, many of which had been loaned earlier for microfilming. The bulk of the collection was donated in 1984 and 1986 by William Rayner and Christopher Schwabacher, executors of the Estate of Betty Parsons. Additional material was donated by William Rayner in 1998 and Christopher Schwabacher in 2017.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Betty Parsons Gallery records and personal 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.
Topic:
Sculptors -- New York (State) -- New York  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Abstract expressionism -- New York (State) -- New York  Search this
Art dealers  Search this
Genre/Form:
Sketchbooks
Interviews
Photographs
Citation:
Betty Parsons Gallery records and personal papers, circa 1920-1991, bulk 1946-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.parsbett
See more items in:
Betty Parsons Gallery records and personal papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-parsbett
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Additional Online Media:

Around, (sculpture)

Sculptor:
Liberman, Alexander 1912-1999  Search this
Medium:
Painted steel
Type:
Sculptures
Sculptures-Outdoor Sculpture
Owner/Location:
Frederik Meijer Gardens and Sculpture Park 1000 East Beltline NE Grand Rapids Michigan 49525
Date:
Ca. 1971
Topic:
Abstract  Search this
Control number:
IAS 67640079
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_440979

Ritual II, (sculpture)

Sculptor:
Liberman, Alexander 1912-1999  Search this
Medium:
Steel
Type:
Sculptures
Sculptures-Outdoor Sculpture
Owner/Location:
Administered by Bradley Family Foundation 2145 West Brown Deer Road Milwaukee Wisconsin 53217
Located Lynden Sculpture Garden 2145 West Brown Deer Road Milwaukee Wisconsin 53217
Date:
1966
Topic:
Abstract  Search this
Control number:
IAS 68580014
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_443096

Dodie Kazanjian and Calvin Tomkins research materials on Alexander Liberman

Creator:
Kazanjian, Dodie, 1952-  Search this
Tomkins, Calvin  Search this
Names:
Liberman, Alexander, 1912-1999  Search this
Liberman, Alexander, 1912-1999 -- Interviews  Search this
Extent:
7.8 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
1927-1999
Summary:
The Dodie Kazanjian and Calvin Tomkins research materials on Alexander Liberman measures 7.8 linear feet and date from 1927-1999. The collection contains sound recordings of interviews, interview transcripts, correspondence, biographical material, clippings, and some photographs. The papers and recordings were predominantly compiled during Kazanjian and Tomkin's preparation for their book, Alex: The Life of Alexander Liberman (1993).
Scope and Contents:
The Dodie Kazanjian and Calvin Tomkins research materials on Alexander Liberman measures 7.8 linear feet and contains sound recordings of interviews, interview transcripts, correspondence, biographical material, clippings, and some photographs.

The interviews include cassette tapes and transcripts documenting Alexander Liberman's professional and personal life. A portion of the interviews are with Liberman himself, but a majority of the interviewees are Liberman's contemporaries and peers including artists, publishers, personal friends, and art collectors. The collection's research files contain school records, articles and clippings, legal documents, and correspondence. Kazanjian's and Tomkins's notes and annotations are found dispersed throughout the research files. This collection also contains drafts and an edited manuscript of the book, Alex: The Life of Alexander Liberman.
Arrangement:
This collection is arranged as 3 series

Series 1: Interviews and Transcripts, 1987-1994 (5.1 linear feet; Boxes 1-15)

Series 2: Research Files, 1927-1999 (1.2 linear feet; Boxes 15-16)

Series 3: -- Alex: The Life of Alexander Liberman -- , circa 1988-1992 (7 folders; Boxes 16-17)
Biographical / Historical:
Alex: The Life of Alexander Liberman (Knopf, 1993) was written by Dodie Kazanjian and her husband Calvin Tomkins. Kazanjian and Tomkins are both authors and art critics in New York, New York. Alexander Liberman (1912-1999) was Editorial Director for Conde Nast for 51 years as well as an accomplished artist.

Kazanjian was born in Newport, Rhode Island in 1952. She received her undergraduate degree from Salve Regina College in 1974, and subsequently worked a number of writing and editing jobs with the Washington Post, Washington Starr, House and Garden, Vogue, and The New Yorker. She has authored five books, held the position of communications director for the National Endowment for the Arts, and is currently the Director of the Lindemann Young Artist Development Program at the Metropolitan Opera. Tomkins is a writer and art critic who was born in Orange, New Jersey in 1925. He graduated from Princeton University in 1948, and went on to work as a journalist for Radio Free Europe and then Newsweek. Tomkins joined the staff of The New Yorker in 1960.

Alexander Liberman (1912-1999) was a Russian-American magazine executive, writer, painter, photographer, and sculptor. Liberman was born in 1912 in Kiev Russia. He was educated in London and the École des Beaux Art in Paris. While in France he was introduction to a career in publication working at Vu magazine owned by Lucien Vogel. After emigrating to New York in 1941, Liberman began working at Conde Nast Publications. For the next twenty years Liberman held multiple positions with Conde Nast's publication Vogue. Liberman was named Conde Nast's editorial director in 1964, a position he held until 1992. In addition to Liberman's career as an editor with Conde Nast, he wrote The Artist in His Studio (1960) and Marlene: An Intimate Photographic Memoir (1992), and has paintings and sculptures featured in museums and public sites worldwide.
Related Materials:
The Archives of American Art houses two other collections that may be of use to researchers interested in either Alexander Liberman or Dodie Kazanjian. The collections are the Alexander Liberman papers, 1912-2003, and the Dodie Kazanjian papers, 1949-2017, bulk 1980-2017.
Provenance:
The collection was donated in 1999 by Dodie Kazanjian and Calvin Tomkins.
Restrictions:
This collection is access restricted; written permission is required. Contact Reference Services for more information. Access, with permission, to original papers and audiovisual material requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
Authorization to publish, quote, or reproduce requires written permission from Dodie Kazanjian and Calvin Tomkins.

The Archives of American Art makes its archival collections available for non-commercial educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art critics -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Genre/Form:
Sound recordings
Interviews
Citation:
Dodie Kazanjian and Calvin Tomkins research materials on Alexander Liberman, circa 1927-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kazadodi
See more items in:
Dodie Kazanjian and Calvin Tomkins research materials on Alexander Liberman
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kazadodi

Alexander Liberman papers

Creator:
Liberman, Alexander, 1912-1999  Search this
Names:
André Emmerich Gallery  Search this
Bennington College  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Solomon R. Guggenheim Museum  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Beaton, Cecil Walter Hardy, Sir, 1904-  Search this
Cartier-Bresson, Henri, 1908-  Search this
Chernow, Burt  Search this
Dalí, Salvador, 1904-  Search this
De Kooning, Willem, 1904-  Search this
Dietrich, Marlene  Search this
Emmerich, André  Search this
Frankenthaler, Helen, 1928-2011  Search this
Greenberg, Clement, 1909-1994  Search this
Hopps, Walter  Search this
Klein, William  Search this
Kline, Franz, 1910-1962  Search this
Leibovitz, Annie, 1949-  Search this
Motherwell, Robert  Search this
Mulas, Ugo  Search this
Namuth, Hans  Search this
Newman, Barnett, 1905-1970  Search this
Newton, Helmut, 1920-  Search this
Parks, Gordon, 1912-2006  Search this
Parsons, Betty  Search this
Penn, Irving  Search this
Picasso, Pablo, 1881-1973  Search this
Ritts, Herb  Search this
Snowdon, Antony Armstrong-Jones, Earl of, 1930-  Search this
Steichen, Edward, 1879-1973  Search this
Vogel, Lucien  Search this
Vreeland, Diana  Search this
Extent:
59 Linear feet
Type:
Archival materials
Collection descriptions
Drafts (documents)
Drawings
Scrapbooks
Interviews
Photographs
Sketches
Sound recordings
Transcripts
Video recordings
Date:
circa 1912-2003
Summary:
The papers of sculptor, painter, and publishing executive Alexander Semeonovitch Liberman date from circa 1913-2003 and measure 59 linear feet. Found within the papers are biographical materials; correspondence with family, galleries, museums, and many artists; numerous recorded interviews and transcripts with and by Liberman, including one of Walter Hopps; writings and writing project files; extensive subject files maintained by Liberman; exhibition files; printed materials; scattered drawings; and extensive photographs of Liberman's artwork, exhibitions, Liberman, and of Liberman with notable artists, dealers, collectors, and critics. Many of the photographs were taken by noted photograhers. Also found within the papers are unidentified sound and video recordings. Additional sound and video recordings have been integrated into other series.
Scope and Contents:
The papers of sculptor, painter, and publishing executive Alexander Semeonovitch Liberman date from circa 1913-2003 and measure 59 linear feet. Found within the papers are biographical materials; correspondence with family, galleries, museums, and many artists; numerous recorded interviews and transcripts with and by Liberman, including one of Walter Hopps; writings and writing project files; extensive subject files maintained by Liberman; exhibition files; printed materials; scattered drawings; and extensive photographs of Liberman's artwork, exhibitions, Liberman, and of Liberman with notable artists, dealers, collectors, and critics. Many of the photographs were taken by noted photograhers. Also found within the papers are unidentified sound and video recordings. Additional sound and video recordings have been integrated into other series.

Biographical materials include awards, biographies and chronologies, family history materials, membership cards, writings by Liberman's mother, and a scrapbook about his father.

Correspondence is extensive and concerns both personal and professional affairs. It is with artists and photographers, art magazines, organizations and museums, art collectors, businesses, and family. Notable correspondents include Cecil Beaton, Henri Cartier-Bresson, Burt Chernow, Salvador Dali, Robert Motherwell, Helen Frankenthaler, Barnett and Annalee Newman, Additional correspondence is found within the subject files compiled and organized by Liberman (series 6).

There are sound and video recordings and transcripts of interviews with and by Liberman, most completed for broadcast television and radio shows. Of particular interest are sound cassettes, a sound tape reel, and a transcript of an interview with Walter Hopps by Liberman.

Writings by Liberman include essays, short stories, and a play entitled 2+1. Writing project files were organized by Liberman for writing projects for which he was the author, collaborator, or subject. There are numerous files concerning Barbara Rose's book about Liberman Alexander Liberman that also include recorded interviews with Liberman and transcripts. Other books for which there are files include The Art and Technique of Color Photography, The Artist in His Studio, Vogue: The First 100 Years, Vogue History of Fashion Photography, and others.

Subject files were organized by Liberman for a wide variety of work projects, activities, topics, and entities of interest. Files cover commissions, the filming and distribution of the 1981 documentary film Alexander Liberman: A Lifetime Burning, Liberman's personal collection of art, gifts of artwork, and his relationship with galleries and dealers, particularly André Emmerich Gallery.

Exhibition files document exhibitions of Liberman's artwork, and include those held at André Emmerich Gallery, Bennington College, the Guggenheim, Museum of Modern Art, among other venues. Files contain correspondence, contracts, photographs, plans and drawings, notes, etc. Also found are inventory records of Liberman's artwork in the form of lists, index cards, bound registers, and notes.

Ten linear feet of printed materials include exhibition announcements and catalogs, books and book flyers, brochures, calendars, clippings, postcards, posters, press releases, and other materials.

There are scattered drawings and sketches found within the papers, some of which are sketches of sculpture pieces.

Nearly one-half of the collection is comprised of photographs of Liberman and his artwork, and of artists and colleagues, many of which were taken by noted photographers, including Cecil Beaton, Henri Cartier-Bresson, William Klein, Henri Lartique, Annie Leibowitz, Inge Morath, Ugo Mulas, Hans Namuth, Helmut Newton, Gordon Parks, Irving Penn, Herb Ritts, and Lord Snowden, among others. Subjects of note found in the photographs include Alfred Barr, Salvador Dali, Marlene Dietrich, Willem de Kooning, Andre Emmerich, Helen Frankenthaler, Clement Greenberg, Franz Kline, Robert Motherwell, Barnett Newman, Betty Parsons, Pablo Piccaso, Edward Steichen, Lucien Vogel, and Diana Vreeland, among many others.
Arrangement:
The collection is arranged into twelve series. Photographs retain Liberman's original numerical and alpha schemas and the corresponding indexes are found in the Inventory Records in Series 8.

Series 1: Biographical Materials, circa 1930s-1999 (1 linear foot; Box 1, 56)

Series 2: Correspondence, 1944-1997 (4 linear feet; Boxes 1-5, 56, OV 65)

Series 3: Interviews, 1946-1996 (1.4 linear feet; Boxes 5-7, 56)

Series 4: Writings, 1948-1995 (0.9 linear feet; Boxes 7-8)

Series 5: Writing Project Files, 1951-1997 (1.8 linear feet; Boxes 8-9, 56)

Series 6: Subject Files, 1946-2000 (6 linear feet; Boxes 9-15, 56, OV 66-67)

Series 7: Exhibition Files, 1954-1991 (0.7 linear feet; Boxes 15-16, 56, OV 68)

Series 8: Inventory Records, 1938-1998 (6 linear feet; Boxes 16-22)

Series 9: Printed Materials, 1932-2003 (10 linear feet; Boxes 22-31, 56-57, OV 69)

Series 10: Artwork, circa 1940s-1990s (0.4 linear feet; Boxes 32, 57, OV 70)

Series 11: Photographic Materials, circa 1912-1999 (26 linear feet; Boxes 32-55, 57-64, OVs 71-77)

Series 12: Unidentified Sound and Video Recordings, circa 1941-1999 (0.8 linear feet; Boxes 55, 64)
Biographical / Historical:
Alexander S. Liberman (1912-1999) was a sculptor, painter, photographer, graphic designer, writer, and publishing executive who worked primarily in New York City. He held senior positions at Condé Nast Publications for 32 years.

Alexander Semeonovitch Liberman was born in 1912 in Kiev Russia. He was educated in London and the École des Beaux Art in Paris. He began his journalistic career in Paris at VU magazine owned by Lucien Vogel and there he befriended photographers Henri Cartier-Bresson, Brassai, Robert Capa, and André Kértesz. He served in the French army for a short time in 1940, but he and his family fled Paris in 1941 to New York City. Condé Nast hired Liberman in 1941 as an assistant to the art director of Vogue magazine. Liberman became art director in 1943 and editorial director of Condé Nast Publications in 1962, a position he held until his retirement in 1994.

Liberman was also a photographer whose subjects included Georges Braque, Alexander Calder, Alberto Giacometti, Henri Matisse, Pablo Picasso, and Marlene Dietrich, among others, many represented in his 1960 book entitled The Artist in his Studio and Marlene: An Intimate Photographic Memoir (1992). He was also the subject of the work of noted photographers Cecil Beaton, Irving Penn, Henri Cartier-Bresson, Gordon Parks, Lord Snowden, Jill Krementz, Henri Lartique, Annie Leibovitz, and Hans Namuth.

Liberman took up painting and sculpting in the 1950s. Although his first exhibition was at the Betty Parsons Gallery, he was primarily associated with the André Emmerich Gallery in New York City. His monumental sculptures were mostly assembled from industrial parts and painted and can be seen in museums and public sites worldwide.

Liberman was briefly married to Hildegarde Sturm. He married his second wife Tatiana Yacovleff du Plessix in 1942. Before their marriage, they fled occupied France together. She was a noted hat designer, working for Henri Bendel and Saks, where she became known as Tatiania of Saks. She died in 1991 and, in 1992, Liberman married Melinda Pechangco, a nurse who had earlier cared for Tatiania. Alexander Liberman died in 1999 in Miami, Florida.
Related Materials:
Related collections found at the Archives of American Art include the Dodie Kazanjian and Calvin Tomkins research materials on Alexander Liberman and numerous collections of gallery records.
Provenance:
The Alexander Liberman papers were donated to the Archives of American Art by Liberman Art Partners in 2010 via Dodie Kazanjian.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Alexander S. Liberman 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.
Occupation:
Publishers -- New York (State) -- New York  Search this
Graphic designers  Search this
Topic:
Photographers -- New York (State) -- New York  Search this
Photography  Search this
Sculptors -- France -- Paris  Search this
Sculptors -- New York (State) -- New York  Search this
Fashion photography  Search this
Painters -- France -- Paris  Search this
Painters -- New York (State) -- New York  Search this
Photographers -- France -- Paris  Search this
Genre/Form:
Drafts (documents)
Drawings
Scrapbooks
Interviews
Photographs
Sketches
Sound recordings
Transcripts
Video recordings
Citation:
Alexander Liberman Papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.libealex
See more items in:
Alexander Liberman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-libealex
Additional Online Media:

Interviews

Collection Creator:
Liberman, Alexander, 1912-1999  Search this
Extent:
1.4 Linear feet (Boxes 5-7, 56)
Type:
Archival materials
Date:
1946-1996
Scope and Contents note:
There are sound recordings and video recordings of interviews, many with transcripts, with Liberman. Most of the interviews were conducted for magazines, television programs, and radio. There are also interviews conducted by Liberman, most notably a 1970 interview of curator Walter Hopps.
Arrangement note:
Folders containing only interview requests and planning correspondence are filed first; the remainder of the series is arranged chronologically.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Alexander S. Liberman 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.
Collection Citation:
Alexander Liberman Papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.libealex, Series 3
See more items in:
Alexander Liberman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-libealex-ref238

A Conversation with Walter Hopps, Sound Cassettes

Collection Creator:
Liberman, Alexander, 1912-1999  Search this
Extent:
2 Sound cassettes
Container:
Box 5, Folder 23
Type:
Archival materials
Audio
Sound cassettes
Date:
1970
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Alexander S. Liberman 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.
Collection Citation:
Alexander Liberman Papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.
See more items in:
Alexander Liberman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-libealex-ref243

A Conversation with Walter Hopps, Sound Tape Reel

Collection Creator:
Liberman, Alexander, 1912-1999  Search this
Extent:
1 Sound tape reel
Container:
Box 5, Folder 24
Type:
Archival materials
Audio
Sound tape reels
Date:
1970
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Alexander S. Liberman 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.
Collection Citation:
Alexander Liberman Papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.
See more items in:
Alexander Liberman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-libealex-ref244

Liberman Profile by Susan Stamberg, Morning Edition

Collection Creator:
Liberman, Alexander, 1912-1999  Search this
Extent:
1 Sound cassette
Container:
Box 6, Folder 10
Type:
Archival materials
Audio
Sound cassettes
Date:
1994
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Alexander S. Liberman 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.
Collection Citation:
Alexander Liberman Papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.
See more items in:
Alexander Liberman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-libealex-ref259

Writings

Collection Creator:
Liberman, Alexander, 1912-1999  Search this
Extent:
0.9 Linear feet (Boxes 7-8)
Type:
Archival materials
Date:
1948-1995
Scope and Contents note:
Found here are mostly writings by Liberman and a few writings by others about Liberman. There are drafts of Liberman's book Then: Photographs, 1925-1995, essays, plays, poems, short stories, and tributes to colleagues. Several folders contain various iterations of a play by Liberman entitled 2 + 1, which was also titled Inside-Out or Son and Lover. There are also Liberman's notes and several essays about Liberman and his artwork authored by others.

Writings with additional extensive documentation are filed with the Writing Project Files.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Alexander S. Liberman 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.
Collection Citation:
Alexander Liberman Papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.libealex, Series 4
See more items in:
Alexander Liberman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-libealex-ref267

Writing Project Files

Collection Creator:
Liberman, Alexander, 1912-1999  Search this
Extent:
1.8 Linear feet (Boxes 8-9, 56)
Type:
Archival materials
Date:
1951-1997
Scope and Contents note:
Liberman organized files for many writing projects for which he was the author, collaborator, or subject. Files typically contain correspondence, lists, notes, drafts, bank documents, forms, project timelines, contracts, agreements, and royalty statements. Many of the files concern the writing and publication of the books Alexander Liberman by Barbara Rose, The Artist in His Studio by Liberman, and Vogue History of Photography by Liberman. Other writing projects concern color photography techniques, Marlene Dietrich, the Piazza del Campidoglio in Rome, and Russian women.
Arrangement note:
This series is arranged alphabetically by project title.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Alexander S. Liberman 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.
Collection Citation:
Alexander Liberman Papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.libealex, Series 5
See more items in:
Alexander Liberman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-libealex-ref294

Alexander Liberman by Barbara Rose, Sound Cassettes

Collection Creator:
Liberman, Alexander, 1912-1999  Search this
Extent:
5 Sound cassettes
Container:
Box 8, Folder 19-20
Type:
Archival materials
Audio
Sound cassettes
Date:
1979-1980
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Alexander S. Liberman 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.
Collection Citation:
Alexander Liberman Papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.
See more items in:
Alexander Liberman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-libealex-ref302

Subject Files

Collection Creator:
Liberman, Alexander, 1912-1999  Search this
Extent:
6 Linear feet (Boxes 9-15, 56, OVs 66-67)
Type:
Archival materials
Date:
1946-2000
Scope and Contents note:
Subject files were compiled and organized by Alexander Liberman on a wide variety of work projects, activities, topics and entities of interest. These files cover sculpture commissions, the filming and distribution of the 1981 documentary film Alexander Liberman: A Lifetime Burning, gifts of artwork to various institutions, business relationships with various galleries and museums, Liberman's personal art collection, and various events and appearances. Most folders contain a wide variety of materials, including correspondence notes, forms, reports, printed matter, design drawings, photographic materials, and audiovisual media.
Arrangement note:
This series is arranged alphabetically by subject, project name, or entity name. Project and exhibition related correspondence is also found in Series 2, 5, and 7. The bulk of the photographs of artwork are arranged in Series 11.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Alexander S. Liberman 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.
Collection Citation:
Alexander Liberman Papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.libealex, Series 6
See more items in:
Alexander Liberman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-libealex-ref330

Alexander Liberman: A Lifetime Burning (1981), Philip Morris, Inc.

Collection Creator:
Liberman, Alexander, 1912-1999  Search this
Extent:
1 Sound cassette
Container:
Box 9, Folder 33-34
Type:
Archival materials
Audio
Sound cassettes
Date:
1981-1983
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Alexander S. Liberman 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.
Collection Citation:
Alexander Liberman Papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.
See more items in:
Alexander Liberman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-libealex-ref335

Discussion by Two Men about Matisse in Nice

Collection Creator:
Liberman, Alexander, 1912-1999  Search this
Extent:
1 Sound cassette
Container:
Box 12, Folder 13
Type:
Archival materials
Audio
Sound cassettes
Date:
circa 1978
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Alexander S. Liberman 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.
Collection Citation:
Alexander Liberman Papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.
See more items in:
Alexander Liberman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-libealex-ref386

Fashion Photography

Collection Creator:
Liberman, Alexander, 1912-1999  Search this
Extent:
3 Sound cassettes
Container:
Box 12, Folder 20
Type:
Archival materials
Audio
Sound cassettes
Date:
circa 1960s-1990s
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Alexander S. Liberman 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.
Collection Citation:
Alexander Liberman Papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.
See more items in:
Alexander Liberman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-libealex-ref393

Paris-Moscow Show

Collection Creator:
Liberman, Alexander, 1912-1999  Search this
Extent:
1 Sound cassette
Container:
Box 14, Folder 20
Type:
Archival materials
Audio
Sound cassettes
Date:
1979
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Alexander S. Liberman 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.
Collection Citation:
Alexander Liberman Papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.
See more items in:
Alexander Liberman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-libealex-ref451

Salvadori, Hialeah

Collection Creator:
Liberman, Alexander, 1912-1999  Search this
Extent:
1 Sound cassette
Container:
Box 14, Folder 28
Type:
Archival materials
Audio
Sound cassettes
Date:
1979
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Alexander S. Liberman 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.
Collection Citation:
Alexander Liberman Papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.
See more items in:
Alexander Liberman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-libealex-ref459

Segnitz, Paul, French

Collection Creator:
Liberman, Alexander, 1912-1999  Search this
Extent:
1 Sound tape reel
Container:
Box 15, Folder 5
Type:
Archival materials
Audio
Sound tape reels
Date:
circa 1950s-1970s
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Alexander S. Liberman 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.
Collection Citation:
Alexander Liberman Papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.
See more items in:
Alexander Liberman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-libealex-ref464

Exhibition Files

Collection Creator:
Liberman, Alexander, 1912-1999  Search this
Extent:
0.7 Linear feet (Boxes 15-16, 56, OV 68)
Type:
Archival materials
Date:
1954-1991
Scope and Contents note:
Exhibition files are found for solo and group shows of Liberman, including those held at the André Emmerich Gallery, Bennington College, Guggenheim Museum, Museum of Modern Art, Stedelijk Museum, and the World's Fair, among other venues. Files contain a variety of materials, such as correspondence, agreements, contracts, forms, photographic materials, biographical information, announcements, plans and drawings, labels, notes, and invitations to exhibition events.
Arrangement note:
This series is arranged alphabetically by gallery, and thereunder chronologically by the exhibition date. Exhibition announcements and catalogs are arranged in Series 9: Printed Materials; additional photographic images of exhibition installations are also found in Series 11: Photographic Materials, Subseries 4: Exhibitions.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Alexander S. Liberman 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.
Collection Citation:
Alexander Liberman Papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.libealex, Series 7
See more items in:
Alexander Liberman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-libealex-ref500

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