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Sidney Janis Gallery exhibition catalogs

Creator:
Sidney Janis Gallery  Search this
Janis, Sidney, 1896-1989  Search this
Extent:
2.8 Linear feet
Type:
Archival materials
Collection descriptions
Exhibition catalogs
Date:
1951-1998
Summary:
The Sidney Janis Gallery exhibition catalogs measure 2.8 linear feet and date from 1951 to 1998. Found here is a complete set of catalogs published by the New York gallery.
Scope and Contents:
The Sidney Janis Gallery exhibition catalogs measure 2.8 linear feet and date from 1951 to 1998. Found here is a complete set of catalogs published by the New York gallery.

Researchers should note that this collection only includes published catalogs and not related exhibition documentation. The gallery did not publish a catalog for every exhibition, especially during the early years of the gallery's operation.
Arrangement:
This collection has been arranged into one series.

Series 1: Exhibition Catalogs, 1951-1998 (Boxes 1-7; 2.8 linear feet)
Biographical / Historical:
Sidney Janis Gallery (est. 1948-1999) was an art gallery in New York, N.Y., specializing in contemporary avant-garde art. Sidney Janis opened the gallery with his wife Harriet at 15 E. 57th Street in Manhattan. The gallery became a leading exhibitor of Pop art after the groundbreaking exhibition New Realists in 1962. The gallery moved to 110 W. 57th Street in the 1980s, and after Janis's death in 1989 the gallery was directed by his son Carroll Janis.
Related Materials:
Also found at the Archives of American Art are two oral history interviews with Sidney Janis. One interview conducted March 21-September 26, 1972, by Paul Cummings, and one interview conducted on October 15 and November 18, 1981, by Avis Berman.
Provenance:
The collection was donated in 1999 by Carroll Janis, son of Sidney Janis.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Sidney Janis Gallery exhibition catalogs 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:
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Exhibition catalogs
Citation:
Sidney Janis Gallery exhibition catalogs, 1951-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sidnjani
See more items in:
Sidney Janis Gallery exhibition catalogs
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sidnjani
Additional Online Media:

Ruth Teschner Costantino papers

Creator:
Costantino, Ruth Teschner, 1892-1981  Search this
Names:
Connoisseur, Inc.  Search this
Ruth Teschner Gallery  Search this
Extent:
0.4 Linear Feet
Type:
Archival materials
Collection descriptions
Date:
1923-1981
Summary:
The papers of art dealer Ruth Teschner Costantino measure 0.4 linear feet and date from 1923 to 1981. The collection includes biographical material, photographs, writings, correspondence, financial records, and printed material.
Scope and Contents:
The papers of art dealer Ruth Teschner Costantino measure 0.4 linear feet and date from 1923 to 1981. The collection includes biographical material, photographs, writings, correspondence, financial records, and printed material.

Biographical material is comprised of four passports. There is one photograph dated 1966, of two unidentified men. Writings include an autobiographical essay and articles on Italy. Financial material contains an account book, invoices, and receipts. The printed material consists of clippings, programs, and brochures.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Ruth Teschner Costantino (1892-1981) was an art dealer based in New York, NY. In 1912, Costantino opened the Ruth Teschner Gallery, and in 1935, she established Connoisseur Inc. Costantino dealt in painting, sculpture, and antiques. She advised such collectors as Walter C. Baker, Stavros Niarchos, Henry Ford, Robert Lehman, and Asila Mellon Bruce. Costantino's husband, Arturo Costantino, an Italian diplomat and banker, had a substantial role in the building of the Italian Pavilion at the 1939 World's Fair.
Provenance:
The papers of Ruth Teschner Costantino were donated by Helen Fioratti, Ruth Teschner Costantino's daughter, in 1983.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Art dealers -- New York (State) -- New York  Search this
Topic:
Women art dealers  Search this
Function:
Art galleries, Commercial -- New York (State) -- New York
Citation:
Ruth Teschner Costantino papers, 1923-1981. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.consruth
See more items in:
Ruth Teschner Costantino papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-consruth

R. Kirk Askew papers

Creator:
Askew, R. Kirk (Ralph Kirk), 1903-1974  Search this
Names:
Berman, Leonid, 1896-1976  Search this
Bloom, Hyman, 1913-  Search this
Blume, Peter, 1906-1992  Search this
Brown, Carlyle, 1919-1964  Search this
Durlacher Bros. (New York, N.Y.)  Search this
Fosburgh, James Whitney, 1910-1978  Search this
Greene, Stephen, 1918-1999  Search this
Melcarth, Edward, 1914-1973  Search this
Quirt, Walter, 1902-  Search this
Seligmann, Kurt, 1900-1962  Search this
Stein, Walter, 1924-1981  Search this
Stuempfig, Walter, 1914-1970  Search this
Wells, Cady, 1904-1954  Search this
Extent:
0.6 Linear feet
Type:
Archival materials
Collection descriptions
Date:
1942-1958
Summary:
The papers of art dealer R. Kirk Askew, director of the New York branch of the Durlacher Bros. art firm, measure 0.6 linear feet and date from 1942 to 1958. The collection includes correspondence with artists Cady Wells, Walter Stuempfig, Walter Quirt, Edward Melcarth, Kurt Seligmann, Leonid Berman, Hyman Bloom, Peter Blume, Carlyle Brown, James W. Fosburgh, Stephen Greene, and Walter Stein.
Scope and Contents:
The papers of art dealer R. Kirk Askew, director of the New York branch of the Durlacher Bros. art firm, measure 0.6 linear feet and date from 1942 to 1958. The collection includes correspondence with artists Cady Wells, Walter Stuempfig, Walter Quirt, Edward Melcarth, Kurt Seligmann, Leonid Berman, Hyman Bloom, Peter Blume, Carlyle Brown, James W. Fosburgh, Stephen Greene, and Walter Stein.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
R. Kirk Askew (1903-1974) was an art dealer and manager of the Durlacher Bros. New York location from from 1927 to circa 1969.
Separated Materials:
Exhibition catalogs, 1928-1967, also donated by R. Kirk Askew, were tranferred to Smithsonian Institution Libraries in 1975. Catalogs are available on microfilm reel 148 at Archives of American Art offices and through interlibrary loan.
Provenance:
Donated 1969-1971 by R. Kirk Askew.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Topic:
Art dealers -- New York (State) -- New York  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Gallery directors -- New York (State) -- New York  Search this
Citation:
R. Kirk Askew papers, 1942-1958. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.asker
See more items in:
R. Kirk Askew papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-asker
Additional Online Media:

Cinque Gallery records

Creator:
Cinque Gallery  Search this
Names:
Bearden, Romare, 1911-1988  Search this
Crichlow, Ernest, 1914-2005  Search this
Jett, Ruth M.  Search this
Lewis, Norman, 1909-1979  Search this
Extent:
1.1 Linear Feet
Type:
Archival materials
Collection descriptions
Photographs
Date:
1959-2010, bulk 1976-2004
Summary:
The Cinque Gallery records measure 1.1 linear feet and date from 1959 to 2010, with the bulk of materials dating from 1976 to 2004. The gallery's mission was to exhibit African-American artists, to educate the public about their work, and to offer art programs to the community. This is documented by financial, administrative and legal records, ancillary correspondence, printed material, and photographs. Also included are limited artists' files and subject files. Materials dated before and after the gallery's years of operation relate to African-American community organizations and were compiled by former Executive Director, Ruth Jett.
Scope and Contents:
The Cinque Gallery records measure 1.1 linear feet and date from 1959 to 2010, with the bulk of materials dating from1976 to 2004. The Gallery's mission was to exhibit African-American artists, to educate the public about their work, and to offer art programs to the community. This is documented by financial, administrative and legal records, ancillary correspondence, printed material, and photographs. Also include are limited artists' files and subject files. Materials dated before and after the Gallery's years of operation relate to African-American community organizations and were compiled by former Executive Director, Ruth Jett.
Arrangement:
The collection is arranged as 7 series:

Series 1: Correspondence, 1970-2008 (Box 1; 1 folder)

Series 2: Subject Files, 1988-2010 (Box 1; 0.1 linear feet)

Series 3: Administrative Records, 1976-2007 (Box 1; 0.1 linear feet)

Series 4: Artists' Files, 1983-2005 (Box 1, OV 4; 0.1 linear feet)

Series 5 Financial and Legal Records, 1969-2005 (Boxes 1-2; 0.2 linear feet)

Series 6: Printed Material, 1959-2005, bulk 1976-2005 (Box 2; 0.2 linear feet)

Series 7: Photographs, 1980s-2001 (Box 3, OV 4; 0.2 linear feet)
Biographical / Historical:
The Cinque Gallery (est. 1969) was an art gallery in New York City founded in 1969 by African-American artists Romare Bearden, Norman Lewis, and Ernest Crichlow. It was established to exhibit the work of both new and established African-American artists, and to provide community educational programs.

Cinque sponsored more than 300 exhibitions in a number of New York City venues, as well as travelling exhibitions in the New York and New England areas before closing in 2004. The Gallery was funded by public and individual contributors, such as the Romare Bearden Foundation, Philip Morris Companies and the Andy Warhol Foundation.
Provenance:
The records were donated to the Archives of American Art in 2013 by Ruth M. Jett, former Executive Director of Cinque Gallery.
Restrictions:
Use of original materials requires an appointment.
Rights:
The Cinque Gallery records 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:
African American artists -- Exhibitions  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Cinque Gallery records, 1959-2010, bulk 1976-2004. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cinqgall2
See more items in:
Cinque Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-cinqgall2
Additional Online Media:

Lorence-Monk Gallery records

Creator:
Lorence-Monk Gallery  Search this
Names:
Lorence, Susan  Search this
Monk, Robert  Search this
Extent:
3.4 Linear Feet
Type:
Archival materials
Collection descriptions
Scrapbooks
Date:
1961-1992
Summary:
The records of Lorence-Monk Gallery measure normal="1957"> and scrapbooks documenting approximately ninety exhibitions and over 250 American and European artists represented by the gallery from its opening in 1985 until it closed its operation in 1992.
Scope and Content Note:
The records of Lorence-Monk Gallery measure 3.4 linear feet and date from 1961-1992. The collection consists of exhibition files and scrapbooks documenting approximately ninety exhibitions and over 250 American and European artists represented by the Lorence-Monk Gallery from its opening in 1985 until it closed its operation in 1992.
Arrangement:
The collection is arranged into 2 series:

Series 1: Exhibition Files, 1961-1991 (Boxes 1-3; 2.2 linear feet)

Series 2: Exhibition Scrapbooks, 1985-1992 (Boxes 3-4; 1.2 linear feet)
Historical Note:
The Lorence-Monk Gallery, founded in 1985 by Susan Lorence and Robert Monk was located at 568-578 Broadway, in the SoHo section of New York City. Prior to establishing the gallery, Susan Lorence was the American Director of the Petersburg Press and Robert Monk was the Director of Castelli Graphics.

The Lorence-Monk Gallery promoted the work of contemporary and emerging artists, featuring a diverse selection of paintings, prints, sculptures, and photographs. The gallery held rotating exhibits organized by theme, individual artists, and group shows. Among the younger generation of artists represented by the gallery were: John Beerman, Jasper Johns, Jürgen Partenheimer, Alan Saret, Carole Seborovski, Alan Uglow, and Günter Umberg.

Beginning with its inaugural show "A Print Survey, 1960-1985," the Lorence-Monk Gallery became a major venue for the graphic arts, including lithographs, etchings, screenprints, and woodcuts. Exhibitions featured the work of prominent artists, many who had worked in other media, such as Richard Artschwager, David Hockney, Jasper Johns, Bruce Nauman, and Barnett Newman.

The gallery's exhibitions included sculpture and object installations, offering the works of Kim Jones, Laurie Parsons, Ursula von Rydingsvard, Sandy Skoglund, and others. The Lorence-Monk Gallery promoted independent publishers of prints, portfolios, and books, including Peter Blum Editions, Diane Villani Editions, and the Universal Limited Art Editions (ULAE). Several exhibitions were organized by independent curators, such as Marvin Heiferman, Clarissa Dalyrymple, and Christopher Sweet. Also there were exhibitions held in conjunction with other galleries, including Leo Castelli Graphics, Jim Kempner Fine Art, and the Robert Miller Gallery.

The gallery closed in 1992. Susan Lorence continues to work as a New York-based independent dealer. Robert Monk is Director at the Gagosian Gallery in New York City.
Provenance:
The Lorence-Monk Gallery Records were donated by Susan Lorence and Robert Monk in 2002.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Lorence-Monk Gallery records 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:
Art galleries, Commercial -- New York (State) -- New York  Search this
Art, Modern -- 20th century  Search this
Genre/Form:
Scrapbooks
Citation:
Lorence-Monk Gallery records, 1961-1992. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.loremong
See more items in:
Lorence-Monk Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-loremong
Additional Online Media:

Area X Gallery records

Creator:
Area X Gallery (New York, N.Y.)  Search this
Names:
Xuereb, Bobbie Sioux  Search this
Extent:
2.4 Linear Feet
Type:
Archival materials
Collection descriptions
Photographs
Financial records
Place:
East Village (New York, N.Y.)
Date:
1977-1988
Summary:
The East Village Area X Gallery records measure 2.4 linear feet and date from 1977-1988. The collection consists primarily of artists files for fifteen artists represented by or of interest to the gallery. The files are varied but may include biographical information, correspondence, financial and inventory records, printed materials, and photographs. Gallery records include scattered financial records, publicity files, and printed materials.
Scope and Content Note:
The East Village Area X Gallery records measure 2.4 linear feet and date from 1977-1988. The collection consists primarily of artists files for fifteen artists represented by or of interest to the gallery. The files are varied but may include biographical information, correspondence, financial and inventory records, printed materials, and photographs. Gallery records include scattered financial records, publicity files, and printed materials.
Arrangement:
The collection is arranged as 4 series:

Series 1: Artists Files, 1977-1988 (Boxes 1-2; 1.5 linear feet)

Series 2: Finacial Records, 1984-1987 (Box 2; 0.5 linear feet)

Series 3: Publicity Files, 1980-1987 (Box 3; 0.3 linear feet)

Series 4: Printed Material, circa 1980-1987 (box 3; 3 folders)
Historical Note:
The Area X Gallery was founded in New York City by Bobbie Sioux Xuereb (Goldberg) in February 1984. Located at 200 E. 10th St., the gallery was part of the larger East Village art scene of the 1980s. Among the artists represented by gallery were Keith Achepohl, John Himmelfarb, Leon Johnson, Michael McCollum, and Louis Mueller. As with many of the East Village galleries, the Area X Gallery closed in 1987.
Provenance:
The records of the Area X Gallery were donated by Bobbie Sioux Xuereb, the gallery's founder and director, in 1998.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Area X Gallery records 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:
Art galleries, Commercial -- East Village (New York, N.Y.)  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Art, Modern -- 20th century -- East Village (New York, N.Y.)  Search this
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Artists -- East Village (New York, N.Y.)  Search this
Genre/Form:
Photographs
Financial records
Citation:
Area X Gallery records, 1977-1988. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.areax
See more items in:
Area X Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-areax

Betty Cuningham Gallery records

Creator:
Betty Cuningham Gallery  Search this
Extent:
7.1 Linear feet
6.47 Gigabytes
Type:
Archival materials
Collection descriptions
Gigabytes
Scrapbooks
Date:
1970-1983
2004-2014
Summary:
The records of New York City gallery, Betty Cuningham Gallery, measure 7.1 linear feet and 6.47 gigabytes, and date from 1970-1982 and 2004-2014. The bulk of the collection pertains to the reestablishment of the gallery in 2004, and includes artist files, exhibition files, guest books from exhibitions, exhibition catalogs and announcements, and scrapbooks. Among the artist and exhibition files are several promotional digital video recordings produced by the gallery featuring interviews with artists and curators. The gallery's early records, Cuningham Ward from 1972-1978 and Betty Cuningham Gallery from 1978-1982, contain artist files, exhibition files, a financial ledger, printed material, and photographs.
Scope and Contents:
The records of New York City gallery, Betty Cuningham Gallery, measure 7.1 linear feet and 6.47 gigabytes, and date from 1970-1982 and 2004-2014. The bulk of the collection pertains to the reestablishment of the gallery in 2004, and includes artist files, exhibition files, guest books from exhibitions, exhibition catalogs and announcements, and scrapbooks. Among the artist and exhibition files are several promotional digital video recordings produced by the gallery featuring interviews with artists and curators. The gallery's early records, Cuningham Ward from 1972-1978 and Betty Cuningham Gallery from 1978-1982, contain artist files, exhibition files, a financial ledger, printed material, and photographs.
Arrangement:
The collection is arrranged as six series

Series 1: Artist Files, 2005-2009 (1.3 linear feet, Boxes 1-2; 6.1 gigabytes, ER01-ER13)

Series 2: Exhibition Files, 2004-2014 (2 linear feet, Boxes 2-4; 382.3 megabytes, ER14)

Series 3: Guest Books, 2004-2014 (1.5 linear feet; Boxes 4-5)

Series 4: Exhibition Catalogs, 2004-2014 (0.8 linear feet; Boxes 5-6, 8)

Series 5: Scrapbooks, 2004-2012 (0.6 linear feet; Boxes 9-10)

Series 6: Cuningham Ward and Early Betty Cuningham Gallery Records, 1970-1982 (1.1 linear feet; Boxes 6-7)
Biographical / Historical:
The Betty Cuningham Gallery (est. 2004) is a gallery in New York City that began as Cuningham Ward in 1972, and in 1978 became Betty Cuningham Gallery, which ran through 1982. Before reopening the gallery in 2004, Betty Cuningham worked at Hirschl and Adler Modern and the Robert Miller Gallery. The gallery specializes in contemporary painting and sculpture predominantly by American artists.
Provenance:
Donated to the Archives of American Art in 2014 and 2017 by Betty Cuningham and Jessica Kitz, gallery representative for Betty Cuningham Gallery.
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 born-digital material requires advance notice.
Rights:
The Betty Cuningham Gallery records 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.
Function:
Art galleries, Commercial -- New York (State) -- New York
Genre/Form:
Scrapbooks
Citation:
Betty Cuningham Gallery records, 1970-1982 and 2004-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bettcung
See more items in:
Betty Cuningham Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bettcung

Stephan Bourgeois papers

Creator:
Bourgeois, Stephan, 1881-1964  Search this
Names:
Bourgeois Galleries (New York, N.Y.)  Search this
Greco, 1541?-1614  Search this
Extent:
4.2 Linear Feet
Type:
Archival materials
Collection descriptions
Business records
Photographs
Date:
1908-circa 1964
Summary:
The papers of New York art dealer and consultant Stephan Bourgeois measure 4.2 linear feet and date from 1908 to circa 1964. The papers include biographical material, correspondence, writings, personal business records and printed material.
Scope and Contents:
The papers of New York art dealer and consultant Stephan Bourgeois measure 4.2 linear feet and date from 1908 to circa 1964. The papers include biographical material, correspondence, writings, personal business records and printed material.

Biographical material includes an address book, biographical statement, passport, a few photographs and some miscellaneous artifacts.

Correspondence consists of Stephan Bourgeois's letters to and from museums, clients and other art dealers. There is business correspondence with lawyers and art dealers in Cologne, Germany. Alphabetical correspondence mostly dates from Stephan Bourgeois's time in New York City on the subject of art and exhibitions. There is also correspondence regarding specific paintings.

Writings consists of notebooks on artists, writings about various art subjects, research and writings on El Greco, notes on places and sociology, and finally miscellaneous notes.

Personal business records include income tax records, bills and receipts, material related to requesting compensation from the German government, and miscellaneous financial records.

The bulk of the printed material consists of exhibition catalogs from Bourgeois Galleries. There are a few articles about Stephan Bourgeois, catalogs from other galleries, and assorted clippings.
Arrangement:
The collection is arranged as five series.

Series 1: Biographical Material, 1908-circa 1964 (7 folders; Box 1)

Series 2: Correspondence, 1928-1962 (0.6 linear feet; Box 1)

Series 3: Writings, circa 1910-circa 1964 (2.9 linear feet; Boxes 1-4)

Series 4: Personal Business Records, circa 1910-circa 1964 (0.3 linear feet; Box 4)

Series 5: Printed Material, 1915-1961 (0.4 linear feet; Boxes 4-5)
Biographical / Historical:
Stephan Bourgeois (1881-1964) was an art dealer, historian, writer and gallery owner based in New York City.

Stephan Bourgeois was born in 1881 in Cologne, Germany. He came from a long line of prominent art dealers and collectors. Bourgeois studied law at the University of Geneva, Switzerland and later studied art history at the University of Strasbourg in France as well as the universities of Bonn and Berlin in Germany. After his studies, he traveled extensively and then settled in Paris, France. In 1906, he began his career as an art dealer and consultant for museums and private collections.

Bourgeois immigrated to the United States in 1910 and lived in New York City. From 1911 to 1933, he was the founding director of Bourgeois Galleries. Bourgeois Galleries specialized in Old Master paintings as well as modern art, and featured artists such as Degas, Delacroix, Corot, Cezanne, Renoir, Gauguin, Van Gogh, Toulouse Lautrec, Albert Gleizes, Joseph Stella, Oscar Bluemner, Mario Toppi, and others.

After the gallery closed its doors in 1933, Bourgeois continued his work as an art historian, art dealer, and consultant. He lectured at numerous art institutions and universities such as the Art Institute of Chicago, Columbia University, and New York University. Bourgeois wrote several books including Evolution of Images in Art and Two Polarities of Modern Art: Henri Rousseau and Pablo Picasso. He was especially interested in the life and art of El Greco and he organized an exhibition about him at Knoedler Gallery in 1941 and later wrote a book about the artist. Bourgeois died in 1964.
Provenance:
The Stephan Bourgeois papers were donated to the Archives of American Art in 1980 by Mrs. Stephan Bourgeois, widow of Bourgeois.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Topic:
Art dealers  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Business records
Photographs
Citation:
Stephan Bourgeois papers, 1908-circa 1964. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bourstep
See more items in:
Stephan Bourgeois papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bourstep

Carus Gallery records

Creator:
Carus Gallery  Search this
Names:
Carus Isserstedt, Dorthea, 1914-2002  Search this
Extent:
3.2 Linear Feet
Type:
Archival materials
Collection descriptions
Photographs
Date:
1967-2002
Summary:
The records of Carus Gallery measure 3.2 linear feet and date from 1967-2002. This collection documents Dorothea Carus Isserstedt's management of the New York gallery through a small amount of business and personal correspondence; business records regarding acquisitions, sales, and consignments; intentories of artwork and rare books; exhibition catalogs, press clippings, and other printed material; and photographs depicting artwork and exhibition installations.
Scope and Contents:
The records of Carus Gallery measure 3.2 linear feet and date from 1967-2002. This collection documents Dorothea Carus Isserstedt's management of the New York gallery through a small amount of business and personal correspondence; business records regarding acquisitions, sales, and consignments; intentories of artwork and rare books; exhibition catalogs, press clippings, and other printed material; and photographs depicting artwork and exhibition installations.
Arrangement:
This collection is arranged as 5 series.

Series 1: Correspondence, 1974-2000 (4 folders; Box 1)

Series 2: Business Records, 1971-1996 (1.8 linear feet; Box 1-2)

Series 3: Inventories, 1973-2002 (0.6 linear feet; Box 2-3)

Series 4: Printed Material, 1967-1992 (0.6 linear feet; Box 3-4)

Series 5: Photographic Material, 1980s-1990s (4 folders; Box 4)
Biographical / Historical:
The Carus Gallery was founded by Dorothea Carus Isserstedt (1914-2002). The gallery's primary interest was in European Graphic Arts, specifically German Expressionism, and Russian Constructivism. The gallery exhibited works by Alexander Archipenko, Ernst Barlach, Max Beckmann, Heinrich Campendonk, Otto Dix, Lyonel Feininger, Natalia Goncharova, George Grosz, Erich Heckel, Alexej Jawlensky, Wassily Kandinsky, Ernst Ludwig Kirchner, Paul Klee, Gustav Klimt, Max Klinger, Kathe Kollowitz, El Lissitzky, Kazimir Malevich, László Moholy-Nagy, Marlow Moss, Otto Mueller, Edvard Munch, Emil Nolde, Christian Rohlfs and Egon Schiele.

In 1968, following the death of her parents, Isserstedt opened the Carus Gallery, which was located on the ground level of her home at 243 E 82nd street in New York. The gallery was relocated to Madison Avenue in 1974 and finally to 1044 Madison Avenue where it remained until Isserstedt's retirement in 1996.

Dorothy was born in 1914 in Elberfeld, Germany. She studied art history and archeology at Freiburg University, receiving a doctorate in 1944. Towards the end of World War II Dorothy escaped to East Germany where she settled in Hamburg and found work as a supervisor with the British Forces Network. In 1952 she immigrated to Yorkville, NY where she worked in her father's print and framing shop. Dorothy became an American citizen in 1957.
Provenance:
The records were donated to the Archives in 2004 by Dr. Gheorghe Costinescu and Mrs. Silvelin von Scanzoni Costinescu, the heirs and executors of Dorothy Carus Isserstedt's estate.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Carus Gallery records are owned by the Archives of American Art, Smithsonian Insitution. 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:
Expressionism (Art) -- Germany  Search this
Constructivism (Art) -- Russia  Search this
Art, Modern -- 20th century  Search this
Futurism (Art) -- Italy  Search this
Futurism (Art) -- Russia  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Carus Gallery Records, 1967-2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.carugall
See more items in:
Carus Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-carugall

Ex Libris records

Creator:
Cohen, Arthur Allen, 1928-1986  Search this
Cohen, Elaine Lustig, 1927-  Search this
Ex Libris (Firm)  Search this
Extent:
2 Linear Feet
Type:
Archival materials
Collection descriptions
Photographs
Date:
1973-2007
Summary:
The records of Ex Libris measure 2.0 linear feet and date from 1973-2007. Ex Libris was a New York City based antiquarian establishment that dealt in rare 20th century avant-garde books and periodicals, and was founded by Elaine Lustig Cohen and her husband Arthur A. Cohen. The records include professional files, sales records, printed material, and photographic material.
Scope and Contents:
TThe records of Ex Libris measure 2.0 linear feet and date from 1973-2007. Ex Libris was a New York City based antiquarian establishment that dealt in rare 20th century avant-garde books and periodicals, and was founded by Elaine Lustig Cohen and her husband Arthur A. Cohen. The records include professional files, sales records, printed material, and photographic material.
Arrangement:
The collection is arranged as 4 series

Series 1: Professional Files, 1973-2007 (0.9 linear feet; Box 1)

Series 2: Sales Records, 1979-1998 (0.1 linear foot; Box 1)

Series 3: Printed Material, 1973-circa 1991 (0.9 linear feet; Box 2)

Series 4: Photographic Material, circa 1980s (0.1 linear foot; Box 2)
Biographical / Historical:
Ex Libris, a New York City based antiquarian establishment that dealt in rare 20th century avant-garde books, periodicals, and archives, operated from 1973-circa 2000, and was founded by Elaine Lustig Cohen (1927- ) and her husband Arthur A. Cohen (1928-1986). Elaine Lustig Cohen is a graphic designer, previously married to the graphic designer Alvin Lustig (1915-1955), who later married her long-time friend Arthur A. Cohen, a scholar, theologian, and author, in 1956.

The Cohen's began collecting avant-garde books and ephemera from antiquarian bookstores and artists in Europe. Ex Libris began when the couple amassed a surplus of material and Arthur placed an ad in the New York Times that said, "send for my list of Dada, Surrealist, Avant-Garde periodicals and ephemera." The inventory of Ex Libris grew to include other movements of modernism including Bauhaus, Futurism, Cubism, De Stijl, German Expressionism, Constructivism, and Fluxus.

Ex Libris published catalogs of their inventory, designed by Elaine, which were sent to libraries and museums all over the world. The catalogs are now collector's items. Exhibitions were organized at Ex Libris that complemented their inventory, and they often loaned material to be included in exhibitions elsewhere.
Related Materials:
Also found in the Archives of American Art are the Elaine Lustig Cohen papers concerning Alvin Lustig, 1982, available on microfilm reel 2802.
Provenance:
The records were donated in 2015 by Elaine Lustig Cohen, co-founder of Ex Libris.
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.
Rights:
The Ex Libris records 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:
Booksellers and bookselling -- New York (State) -- New York  Search this
Topic:
Art galleries, Commercial -- New York (State) -- New York  Search this
Futurism (Art)  Search this
Dadaism  Search this
Surrealism  Search this
Genre/Form:
Photographs
Citation:
Ex Libris records, 1973-2007. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.exlibr
See more items in:
Ex Libris records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-exlibr

Associated American Artists records

Creator:
Associated American Artists  Search this
Names:
Lewenthal, Reeves, 1909-1987  Search this
Liederman, Maurice J.  Search this
Wood, Grant, 1891-1942  Search this
Extent:
55 Linear feet
Type:
Archival materials
Collection descriptions
Scrapbooks
Photographs
Date:
circa 1934-1983
Summary:
The records of the Associated American Artists measure 55 linear feet and date from circa 1934 through 1983. The organization was founded in 1934 to stimulate interest in prints throughout the United States by promoting the sale of prints through department stores and other venues. Later, other genres of works of art were added and the department store abandoned in favor of a New York headquarters. The records contain voluminous files on artists; dealers, galleries, and museums; and clients. Also found is business correspondence, financial records, sales and exhibition catalogs, thirteen dismantled scrapbooks, and posters.
Scope and Content Note:
The records of the Associated American Artists measure 55 linear feet and date from circa 1934 through 1983. They document the organization's work producing and selling limited-edition prints by American artists. The records contain voluminous files on artists; dealers, galleries, and museums; and clients. Also found is business correspondence, financial records, sales and exhibition catalogs, thirteen dismantled scrapbooks, and posters.

The dates of the records include the portion that was loaned to the Archives in 1965-1966 and microfilmed on reels D254-D256.
Arrangement:
The collection is arranged into 9 series:

Series 1: Artist Files,1951-1983 (Box 1-19; 18.5 linear feet)

Series 2: Dealers, Galleries and Museums, circa 1958-1980 (Box 19-29; 10.5 linear feet)

Series 3: Client Files, circa 1958-1980 (Box 29-48; 19 linear feet)

Series 4: Business Correspondence, 1959-1980 (Box 48-49; 2 linear feet)

Series 5: Financial Records, 1960-1981 (Box 50-51; 1 linear feet)

Series 6: Sales Catalogs, 1955-1979 (Box 51-53; 2 linear feet)

Series 7: Exhibition Catalogs, 1950-1978 (Box 54; 1 linear foot)

Series 8: Scrapbooks, 1958-1980 (Box 55-57; 0.9 linear feet)

Series 9: Posters, circa 1960s-1970s
Historical Note:
The Associated American Artists was created in 1934 with the mission of bridging the gap between artists and their audiences by making fine art affordable, accessible, and attractive for the general American public. The A.A.A. offered new editions of prints to collectors at very reasonable prices. This was accomplished by publishing limited-edition prints of etchings and lithographs by American artists that sold for as little as five dollars each. The organization commissioned original graphic art from many notable American artists, whose art often reflected or commented on the social ideas of the era. All lithographs and etchings were produced in editions ranging from 125 to 250 impressions. Between 1934 and 1945, the organization published more than 600 limited-edition prints. An early collaboration allowed the prints to be displayed and sold in fifty department stores nationwide. Later, the department stores were abandoned in favor of a headquarters in a gallery in New York City. By the 1950s, the organization began to design fabrics as well.

The organization was also notable for its innovative use of modern merchandising and advertising techniques to sell and introduce high-quality artwork to a broad audience. New products were introduced in newspaper articles and magazines that targeted both the public and professional trade audiences. Prints were also advertised on the back of periodicals, which introduced the art to an even wider audience across the country.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reels D254-D256 and 3176. Reels D254-D256 include material related to the Associated American Artists' records that were returned to the lender. Reel 3176 contains photocopies of correspondence between Grant Wood, Reeves Lewnthal, and Maurice Liederman and that were discarded after microfilming. This material is not described in the collection container inventory.
Provenance:
Sylvan Cole and Adolf Dehn loaned the Archives of American Art related Associated American Artists' records for microfilming on reels D254-D256 in 1965-1966. Mrs. Allan Kine gave photocopies of correspondence on reel 3176 to the Archives in 1974. The Associated American Artists donated all other material begining in the late 1970s through 1988.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C., facility.
Rights:
The Associated American Artists records 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:
Art galleries, Commercial -- New York (State) -- New York  Search this
Artists -- United States  Search this
Art -- Marketing  Search this
Art, American  Search this
Genre/Form:
Scrapbooks
Photographs
Citation:
Associated American Artists records, circa 1934-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.assoamea
See more items in:
Associated American Artists records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-assoamea
Additional Online Media:

Barbara Mathes Gallery records pertaining to Rio Nero lawsuit

Creator:
Barbara Mathes Gallery (New York, N.Y.)  Search this
Names:
Howard Greenberg Gallery (New York, N.Y.)  Search this
Bauman, Patricia  Search this
Calder, Alexander, 1898-1976  Search this
Mathes, Barbara  Search this
Extent:
1.4 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Legal documents
Date:
1989-1995
Summary:
The Barbara Mathes Gallery records pertaining to Rio Nero lawsuit measure 1.4 linear feet and date from 1989-1995. The records, assembled by Barbara Mathes, relate to the lawsuit Greenberg Gallery, Inc., et al. v. Patricia Bauman, et al. and the authenticity of the Alexander Calder mobile Rio Nero. The files contain correspondence, purchase and shipping records, and legal documents. The collection also includes printed material and photographs of the mobile.
Scope and Content Note:
The Barbara Mathes Gallery records pertaining to Rio Nero lawsuit measure 1.4 linear feet and date from 1989-1995. The collection, assembled by Barbara Mathes, relates to the lawsuit Greenberg Gallery, Inc., et al. v. Patricia Bauman, et al. regarding the authentication of the Alexander Calder mobile Rio Nero. The Barbara Mathes Gallery, co-owner of the mobile was a plaintiff in the lawsuit. The files contain correspondence between co-owners of the mobile, letters and accompanying legal documents from their attorney, purchase and shipment records, and invoices for legal fees. Legal documents are comprised of depositions, findings of fact, transcripts of proceedings, trial exhibits, and appeal briefs. Printed material includes clippings and magazine articles relating to the trial. The collection also contains photographs of the mobile.
Arrangement:
The collection is arranged as four series:

Series 1: Correspondence, 1989-1995 (Box 1; 0.4 linear feet)

Series 2: Legal Documents, 1991-1994 (Box 2; 0.9 linear feet)

Series 3: Printed Material, 1993-1995 (Box 2; 1 folder)

Series 4: Photographs, 1989-1990, 1993 (Box 2; 2 folders)
Historical Note:
In 1959 Alexander Calder (1898-1976) created a black metal mobile titled Rio Nero which collector Lionel Bauman purchased from the Perls Galleries, New York City (1967). Patricia Bauman received Rio Nero from her father's estate in 1989 and consigned the mobile to the Herbert Palmer Gallery in Los Angeles and L & R Entwistle and Co., Ltd. in London. The Greenberg Gallery, Saint Louis, Missouri, purchased the mobile for $500,000 from L & R Entwistle in March 1990. The Barbara Mathes Gallery, New York; Donald Morris Gallery, Inc., Birmingham, Michigan; and John C. Stoller & Co., Minneapolis, Minnesota, each acquired a twenty-five percent share in the mobile from the Greenberg Gallery.

In May 1990, the gallery owners saw the mobile for the first time and noticed that the work neither hung properly nor moved in a manner consistent with other Calder mobiles. In December 1990, the owners asked Klaus Perls, the noted authority on Calder and the artist's primary dealer from 1955-1976, to authenticate the Rio Nero mobile. After Perls deemed the work a forgery, Patricia Bauman declined to reverse the sale and the four galleries instituted legal proceedings. The plaintiffs, Greenberg Gallery et al., contended that Patricia Bauman, or someone acting on her behalf, switched the original mobile with a forgery and then presented it to L & R Entwistle as a Calder mobile.

In April 1993, the case was tried without a jury in Washington, D. C. and the Federal District Court awarded judgment to the defendants, Patricia Bauman and L & R Entwistle. The judge presiding over the case, Judge Oberdorfer, ruled out the testimony of Klaus Perls and the plaintiffs subsequently appealed the case. In 1994, the Alexander and Louisa Calder Foundation declined to include the mobile in the catalogue raisonné on the artist. On appeal, judgment was not overturned.
Provenance:
The papers were donated to the Archives of American Art by Barbara Mathes in 2005.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Barbara Mathes Gallery records pertaining to Rio Nero lawsuit 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:
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Legal documents
Citation:
The Barbara Mathes Gallery records pertaining to Rio Nero lawsuit, 1989-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.barbmatg
See more items in:
Barbara Mathes Gallery records pertaining to Rio Nero lawsuit
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-barbmatg
Additional Online Media:

Byron Gallery records

Creator:
Byron Gallery  Search this
Names:
Galleria dell'Ariete  Search this
Antonakos, Stephen, 1926-2013  Search this
Calder, Alexander, 1898-1976  Search this
Consagra, Pietro, 1920-  Search this
Copley, Alfred L.  Search this
De Chirico, Giorgio, 1888-  Search this
Ernst, Max, 1891-1976  Search this
Friedeberg, Pedro, 1937-  Search this
Gilliam, Sam  Search this
Goeritz, Mathias, 1915-1990  Search this
Grilo, Sarah  Search this
Matta Echaurren, Roberto Sebastián, 1911-  Search this
Meadmore, Clement  Search this
Nivola, Costantino, 1911-1988  Search this
Sleigh, Sylvia  Search this
Talman, Paul  Search this
Youngerman, Jack, 1926-  Search this
Extent:
16.3 Linear Feet
Type:
Archival materials
Collection descriptions
Photographs
Scrapbooks
Date:
circa 1950s-1991
Summary:
The records of New York Byron Gallery measure 16.3 linear feet and date from circa 1950s-1991, with the bulk of the material dating from 1960-1971. The records document the gallery's representation and exhibition of Surrealist and contemporary American artists, as well as the occasional pre-Columbian and Old Masters artwork. Found are over ten linear feet of artists and subject files, fifty-seven exhibition scrapbooks, exhibition catalogs, and sales records. There are also exhibitions catalogs of the Milan Galleria Dell'Arieti.
Scope and Content Note:
The records of New York Byron Gallery measure 16.3 linear feet and date from circa 1950s-1991, with the bulk of the material dating from 1960-1971. The records document the gallery's representation and exhibition of Surrealist and contemporary American artists, as well as the occasional pre-Columbian and Old Masters artwork. Found are extensive artists and subject files, exhibition files and scrapbooks, exhibition catalogs, and sales records. There are also exhibitions catalogs of the Milan Galleria Dell'Arieti.

Artist and subject files comprise over one-half of the records and contain business correspondence, sales information, photographs and transparencies, catalogs, and exhibit reviews for each artist either represented or sold by the gallery, or participated in an exhibition organized by the gallery. Particularly rich files are found for Alcopley, Stephen Antonakos, Alexander Calder, Pietro Consagra, Giorgio De Chirico, Max Ernst, Pedro Friedeberg, Sam Gilliam, Mathias Goeritz, Sarah Grilo, Roberto Sabastiano Matta, Clement Meadmore, Constantino Nivola, Sylvia Sleigh, Paul Talman, and Jack Youngerman.

Fifty-seven exhibition scrapbooks in binder sleeves represent a complete documentary record of Byron Gallery exhibits from 1963-1970. The scrapbook contain a wide variety of materials, including correspondence, catalogs, price lists, installation photographs and slides, printed reproductions of exhibited art work, and newspaper clippings and reviews. Additional printed materials include exhibition catalogs and invitations. There is also a near-complete run of catalogs from the Galleria Dell'Arieti, a contemporary gallery in Milan, Italy, 1961-1970.

Financial and business records are contained in a series of invoices from 1963-1971, and a card file of artwork sold or returned.
Arrangement:
The collection is arranged as 5 series:

Series 1: Artist and Subject Files, circa 1950s-1991, undated (Box 1-10, 17; 10.2 linear feet)

Series 2: Exhibition Scrapbooks, 1963-1970 (Box 11-14, 17; 4.1 linear feet)

Series 3: Printed Material, 1961-1970 (Box 15; 0.5 linear foot)

Series 4: Invoices, 1963-1971 (Box 15; 0.5 linear foot)

Series 5: Card Files, circa 1960s-1970s (Box 16; 1 linear foot)
Historical Note:
The Byron Gallery was founded in 1961 by Charles Byron (b. 1918) and located on Madison Avenue in New York, New York. The gallery primarily showed Surrealist masters and up-and-coming contemporary American painters and sculptures, as well as an occasional ancient and Old Masters exhibit.

Among the artists represented by the gallery were Alcopley, Herbert Bayer, Albert Kotin, Clement Meadmore, Richard Merkin, Constantino Nivola, Brian O'Doherty, and Hans Richter. Additional artists handled by the gallery or given shows were Max Ernst, Sam Gilliam, Robert Sebastian Matta, Renee Magritte, Sylvia Sleigh, and Jack Youngerman. The gallery also sold work by artists represented by other galleries, or from the secondary market.

Several prescient group shows were organized by the gallery, including the Box Show in 1965, featuring the work of over 100 artists, including Arakawa, Lee Bontecou, Chryssa, Joseph Cornell, Alcopley, Walter De Maria, Dan Flavin, Donald Judd, Edward Kienholz, Sol Lewitt, Louise Nevelson, Constantino Nivola, Robert Rauschenberg, Michell Stuart, and Andy Warhol. The Paris Review show in 1965 was another stellar event, with contributions from Richard Anuszkiewicz, Allan D'Arcangelo, Jim Dine, Helen Frankenthaler, Robert Indiana, Alex Katz, Ellsworth Kelly, Lindner, Richard Robert Motherwell, Louise Nevelson, Estaban Vicente, and Andy Warhol. In 1964, the gallery also organized an exhibition of over 40 American landscape artists, American Landscapes. The gallery also exhibited two shows based on Pre-Columbian objects, and, in the late 1960s, held two major exhibitions, 400 Years of Italian Art: Florentine Relief Fund Art Show (1967) and Greek Gold Exhibition (1967-1968).
Provenance:
The Byron Gallery papers were donated to the Archives of American Art by gallery owner Charles Byron in 1999.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Byron Gallery records 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:
Surrealism  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Scrapbooks
Citation:
Byron Gallery records, circa 1950s-1991, bulk 1960-1971. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.byrogall
See more items in:
Byron Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-byrogall
Additional Online Media:

Martin Diamond papers

Creator:
Diamond, Martin  Search this
Names:
Martin Diamond Fine Arts (Gallery)  Search this
Diamond, Harriette  Search this
Extent:
3.2 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Date:
1928-2013
Summary:
The papers of New York art dealer, writer and teacher, Martin Diamond measure 3.2 linear feet and date from 1928 to 2013. The materials involve to a limited degree Diamond's wife, Harriette Diamond, co-owner and co-operator of Martin Diamond Fine Arts, Inc. Their gallery work and relationships with artists they represented are documented by writings, subject and artist files, and photographic materials. Subject files concern American abstract art, particularly the 20th century Transcendental abstract painters, and include printed materials, correspondence and photographic materials. Artists' files include similar materials and some writings by artists. Photographic materials are of artworks and exhibition installations.
Scope and Contents:
The papers of New York art dealer, writer and teacher, Martin Diamond measure 3.2 linear feet and date from 1928 to 2013. The materials involve to a limited degree Diamond's wife, Harriette Diamond, co-owner and co-operator of Martin Diamond Fine Arts, Inc. Their gallery work and relationships with artists they represented are documented by writings, subject and artist files, and photographic materials. Subject files concern American abstract art, particularly the 20th century Transcendental abstract painters, and include printed materials, correspondence and photographic materials. Artists' files include similar materials and some writings by artists. Photographic materials are of artworks and exhibition installations.
Arrangement:
The collection is arranged in 4 series. Materials are generally arranged by record type and chronologically thereafter.

Series 1: Writings, 1995 (Box 1; 1 folder)

Series 2: Subject Files, 1940-2008 (Box 1; 0.3 linear feet)

Series 3: Artists' Files, 1928-2013 (Boxes 1-3; 2.5 linear feet)

Series 4: Photographic Materials, 1988 (Boxes 3-4; 0.4 linear feet)
Biographical / Historical:
Art dealer and writer, Martin Diamond (b. 1924) owned Martin Diamond Fine Arts, Inc. with his wife, Harriette. The gallery was established in January 1976 and operated until 1986, specializing in pre-world War II American modern and Abstract Art. It then became a private gallery operating until 1996, when the couple retired. Martin Diamond was particularly interested in Transcendental Art, an area of Abstract Art focused on the artwork's spiritual qualities. His writings include Who Were They? My Personal Contact with 35 American Modernists Your Art Hisory Course Never Mentioned (1995) and his memoirs of his years as a New York City art dealer (1975-1985). Martin and Harriette Diamond presently reside in New Rochelle, New York. Artists represented by the gallery included Vaclav Vytlacil, Blanche Lazzell, and Marguerite and William Zorach.
Related Materials:
The Rutgers University Art Library in New Brunswick, New Jersey holds the "Martin and Harriet Diamond Vertical Files of American Art," which consists of 300 cubic feet of art exhibition catalogs dating from the late nineteenth century through the first half of the twentieth century.
Provenance:
The papers were donated to the Archives of American Art in 1993 and 2014 by Martin Diamond.
Restrictions:
Use of original materials requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Martin Diamond 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:
Art, Abstract  Search this
Art, Modern -- 20th century  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Art dealers -- New York (State) -- New York  Search this
Art, American -- 20th century  Search this
Painters -- New York (State) -- New York  Search this
Transcendentalism in art  Search this
Genre/Form:
Photographs
Citation:
Martin Diamond papers, 1928-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.diammart2
See more items in:
Martin Diamond papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-diammart2
Additional Online Media:

Marilyn Pearl Gallery records

Creator:
Marilyn Pearl Gallery  Search this
Names:
Allain, René Pierre, 1951-  Search this
Chaet, Bernard  Search this
Freeman, Joseph  Search this
Greene, Stephen, 1918-1999  Search this
Hill, Clinton, 1922-2003  Search this
Lasch, Pat  Search this
Loew, Michael, 1907-1985  Search this
Lutz, Winifred  Search this
McShea, Jim  Search this
Miles, Jeanne Patterson, 1908-1999  Search this
Pearson, Henry, 1914-2006  Search this
Perez, Pedro  Search this
Robin, Stephen, 1944-  Search this
Von Wiegand, Charmion  Search this
Weiner, Ellen  Search this
Extent:
7.4 Linear feet
Type:
Archival materials
Collection descriptions
Visitors' books
Photographs
Date:
1925-2000
bulk 1976-1993
Summary:
The records of the Marilyn Pearl Gallery are dated 1925-2000, with the bulk of the ematerial from the period 1976-1993. The collection measures 7.4 linear feet and consists of artists' files, exhibition files, and business records documenting affiliated artists and gallery activities.
Scope and Content Note:
The records of the Marilyn Pearl Gallery are dated 1925-2000, with the bulk of the ematerial from the period 1976-1993. The collection measures 7.4 linear feet and consists of artists' files, exhibition files, and business records documenting affiliated artists and gallery activities.

Artist files are found for: René Pierre Allain, Bernard Chaet, Stephen Greene, Clinton Hill, Pat Lasch, Michael Loew, Winifred Lutz, Jim McShea, Jeanne Miles, Henry Pearson, Pedro Perez, Stephen Robin, Charmion von Wiegand, and Ellen Weiner. They contain the following types of records in varying combinations: correspondence with the artist, collectors, galleries and museums; printed material including publicity, exhibition catalogs and announcements of Marilyn Pearl Gallery and other venues; photographs; financial records concerning sales and exhibition expenses. In general, items dated prior the gallery's existence and after its closing are printed material relating to the artist. A notable exception is the small number of the personal papers of Charmion von Wiegand that include letters from her husband, writer and editor Joseph Freeman.

Exhibition files are arranged chronologically by exhibition date, 1977, 1980-1992 and consist of correspondence, invoices, printed material, publicity, and photographs.

Business records document the routine affairs of the gallery. Included are client correspondence, inventory cards (work in stock, pieces returned to artists, and works sold), a nearly complete set of invoices for gallery sales for the period 1976-1986, consignment records, appraisals, mailing lists, guest books, and records regarding Basel Art Fairs of 1989-1993.
Arrangement:
The collection is arranged as 3 series:

Series 1: Artists' Files, 1925-2000 (Boxes 1-4; 3.6 linear ft.)

Series 2: Exhibition Files, 1973-1992 (Boxes 4-5; 1.15 linear ft.)

Series 3: Business Records, 1976-2000 (Boxes 5-8; 2.65 linear ft.)
Historical Note:
The Marilyn Pearl Gallery (est. 1976-circa 1993) was an art gallery in New York, N.Y. specializing American art from the 1920s-1950s.

Marilyn Pearl (Mrs. Alan Loesberg), the daughter and granddaughter of art collectors from Akron and Cleveland, Ohio, as a young child began developing an appreciation for and true love of art. After a stint as a history teacher, Ms. Pearl was determined to establish her own gallery. With help from family, her dream became a reality when the Marilyn Pearl Gallery opened at 29 West 57th Street, New York, in 1976. In 1982, the gallery relocated to 38 East 57th Street, and in 1987 moved to 420 West Broadway in SoHo. Although the gallery closed in the early 1990s, Ms. Pearl continued to operate as a private dealer and expanded her activities to international art fairs, among them the Basel Art Fair.

Among the artists represented by the gallery were: Bernard Chaet, Stephen Greene, Clinton Hill, Pat Lasch, Michael Loew, Winifred Lutz, Jim McShea, Jeanne Miles, Henry Pearson, Pedro Perez, Stephen Robin, Charmion von Wiegand, and Ellen Weiner.

Pearl's first sales were works by sculptor Winifred Lutz, known for site-specific installations. Ms. Lutz remained part of Marilyn Pearl Gallery's stable throughout its history. In addition to emerging artists, Marilyn Pearl also was interested in traditional art forms, and eventually specialized in exhibiting American art from the 1920s-1950s, with particular emphasis on geometric abstraction. In addition, Marilyn Pearl Gallery presented a number of exhibitions exploring WPA era murals, American Abstract Artists, and post-war figurative work. By the 1980s, the gallery's annual schedule usually featured summer shows of new talent; several artists first introduced in this manner developed long-term relationships with Marilyn Pearl Gallery.
Provenance:
Marilyn Pearl donated the records of her gallery to the Archives of American Art in 2002.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Marilyn Pearl Gallery records 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:
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Visitors' books
Photographs
Citation:
Marilyn Pearl Gallery records, 1925-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.maripeag
See more items in:
Marilyn Pearl Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-maripeag
Additional Online Media:

Winslow Homer letters to M. Knoedler and Company

Creator:
Homer, Winslow, 1836-1910  Search this
Names:
M. Knoedler & Co.  Search this
Extent:
0.2 Linear Feet
Type:
Archival materials
Collection descriptions
Date:
1900-1904
Summary:
This small collection of twenty-two letters written by painter and illustrator Winslow Homer to his art dealer, M. Knoedler and Company, date from 1900 to 1904. These letters to the New York gallerist concern the logistics of selling his paintings and also reference agents, collectors, and art institutions where his work was being exhibited.
Scope and Contents:
This small collection of twenty-two letters written by painter and illustrator Winslow Homer to his art dealer, M. Knoedler and Company, date from 1900 to 1904. These letters to the New York gallerist concern the logistics of selling his paintings and also reference agents, collectors, and art institutions where his work was being exhibited.
Arrangement:
The collection is arranged as 1 series:

Series 1: Correspondence, 1900-1904 (0.2 linear feet; Box 1)
Biographical / Historical:
Winslow Homer was born in Boston, Massachusetts, in 1836. He was raised in Cambridge, where he developed a love of art and the outdoors. At the age of 19 he began his career as an illustrator, apprenticing at the J.H. Bufford lithographic firm in Boston. He then decided to become a freelance illustrator. In 1859 Homer moved to New York to work for Harper's Weekly, serving as artist-correspondent for the magazine during the Civil War. After taking some art classes at the National Academy of Design, he decided to focus on oil painting. He quickly gained international recognition as a painter, and in 1866 made his first trip to Europe. In 1873 he decided to work in watercolor and found great success in his experimentation with light and color in this medium. In the mid-1880s Homer moved permanently to Prout's Neck, Maine, an isolated area where he built a studio and focused his paintings on man's struggle with nature. Also during the 1880s he worked on a series of etchings based on his paintings. Homer continued to paint for the next twenty years, vacationing summers in places such as the Adirondacks and the Bahamas to capture varied landscapes, until his death in 1910.

M. Knoedler and Co. was a New York art dealership and gallery that managed the sales and logistics involved in shipping or lending artworks to various collectors, museums, organizations, and institutions.
Related Materials:
The Archives of American Art also holds the Winslow Homer collection; a microfilm copy on reels 2932-2933 of the Winslow Homer and Homer family papers from the Bowdain College; and a video recording, Winslow Homer in Maine.
Provenance:
The Winslow Homer letters to M. Knoedler and Company were purchased at auction and donated by Martha J. Fleischman in memory of her father, Lawrence A. Fleischman, in 2010.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Winslow Homer letters to M. Knoedler and Company 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:
Illustrators -- Maine  Search this
Painters -- Maine -- Prout's Neck  Search this
Topic:
Art galleries, Commercial -- New York (State) -- New York  Search this
Art -- Economic aspects  Search this
Art dealers -- Illinois -- Chicago  Search this
Citation:
Winslow Homer letters to M. Knoedler and Company, 1900-1904. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mknoeco
See more items in:
Winslow Homer letters to M. Knoedler and Company
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-mknoeco
Additional Online Media:

Owen Gallery records

Creator:
Owen Gallery  Search this
Names:
Benton, Thomas Hart, 1889-1975  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Glackens, William J., 1870-1938  Search this
Henri, Robert, 1865-1929  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Lawson, Ernest, 1873-1939  Search this
Luks, George Benjamin, 1867-1933  Search this
Owen, Michael  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Shinn, Everett, 1876-1953  Search this
Sloan, John, 1871-1951  Search this
Yost, James  Search this
Extent:
9.4 Linear feet
0.093 Gigabytes
Type:
Archival materials
Collection descriptions
Gigabytes
Date:
1929-2010
bulk 1980-2010
Summary:
The records of Owen Gallery measure 9.4 linear feet and 0.093 GB and date from 1929-2010, bulk 1980-2010. The gallery, which operated from 1986 to 2009 in New York, specialized in late nineteenth and early twentieth century American art with an emphasis on The Eight, Ashcan, and early American modernism. Michael Owen and James Yost owned and directed the gallery. Found within the records are exhibition files; inventory and sales records; printed and digital material; and records regarding painter Yasuo Kuniyoshi. Material dating from before 1986 when the gallery was established is research related to an artwork's provenance.
Scope and Contents:
The records of Owen Gallery measure 9.4 linear feet and 0.093 GB and date from 1929-2010, bulk 1980-2010. The gallery, which operated from 1986 to 2009 in New York, specialized in late nineteenth and early twentieth century American art with an emphasis on The Eight, Ashcan, and early American modernism. Artists represented include Thomas Hart Benton, Arthur B. Davies, William Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, John Sloan, and others. Michael Owen and James Yost owned and directed the gallery. Found within the records are exhibitions files; inventory and sales records; printed and digital material; and records regarding painter Yasuo Kuniyoshi. Material dating from before 1986 when the gallery was established is research related to an artwork's provenance.
Arrangement:
The collection is arranged as four series

Series 1: Exhibition Files, 1989-2010 (2.1 linear feet; Box 1-3, 0.001 GB; ER01)

Series 2: Inventory and Sales Records, 1929-2010, bulk 1980-2010 (5.7 linear feet; Box 3-8, 0.092 GB; ER02-ER04)

Series 3: Printed Material, 1994-2008 (0.4 linear feet; Box 8-9)

Series 4: Records Regarding Yasuo Kuniyoshi, circa 1955-2000 (1.2 linear feet; Box 9-10)
Biographical / Historical:
Owen Gallery, a New York gallery specializing in late nineteenth and early twentieth century American art, operated from 1986 to 2009 and was owned and directed by Michael Owen and James Yost. The gallery represented many artists associated with The Eight, Ashcan, and American modernism. Although exhibitions and the retail gallery have closed, the business remains in operation.
Provenance:
The Owen Gallery records were donated to the Archives of American Art in 2015 and 2016 by Michael Owen and James Yost.
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.
Rights:
The Owen Gallery records 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:
Art, American -- 19th century  Search this
Art, American -- 20th century  Search this
Art, Modern -- United States  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Ashcan school of art  Search this
Eight (Group of American artists)  Search this
Citation:
Owen Gallery records, 1929-2010, bulk 1980-2010. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.owengall
See more items in:
Owen Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-owengall
Additional Online Media:

Poindexter Gallery records

Creator:
Poindexter Gallery  Search this
Names:
Corcoran Gallery of Art  Search this
Denver Art Museum  Search this
Fogg Art Museum  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Montana Historical Society  Search this
Oberlin College  Search this
Smithsonian Institution  Search this
Solomon R. Guggenheim Museum  Search this
University of Arizona  Search this
Worcester Art Museum  Search this
Yale University  Search this
De Kooning, Willem, 1904-  Search this
De Niro, Robert, 1922-1993  Search this
Dickinson, Eleanor, 1931-  Search this
Diebenkorn, Richard, 1922-1993  Search this
Harris, Paul, 1925-  Search this
Kerkam, Earl, 1891-1965  Search this
Kline, Franz, 1910-1962  Search this
Olitski, Jules, 1922-2007  Search this
Resnick, Milton, 1917-2004  Search this
Spaventa, George, 1918-  Search this
Extent:
7.1 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Date:
1931-1985
bulk 1955-1978
Summary:
The records of the Poindexter Gallery measure 7.1 linear feet and date from 1931-1985 with the bulk of the materials dating from 1955-1978 when the gallery was active. The majority of the collection consists of artists' files documenting the gallery's relationships with its artists, including exhibitions, and containing a wide variety of materials, including photographs. Also found are the "desk files" kept by the gallery's founder, Elinor Poindexter; correspondence; and financial and legal records.
Scope and Contents:
The records of the Poindexter Gallery measure 7.1 linear feet and date from 1931-1985 with the bulk of the materials dating from 1955-1978 when the gallery was active. The majority of the collection consists of artists' files documenting the gallery's relationships with its artists, including exhibitions, and containing a wide variety of materials, including photographs. Also found are the "desk files" kept by the gallery's founder, Elinor Poindexter; correspondence; and financial and legal records.

Elinor Poindexter's desk files consist of documents she kept as a reference for both her personal needs and gallery business. Correspondence is with artists, museums, colleges and universities, and art institutes. Notable correspondents include Worcester Art Museum, Corcoran Gallery of Art, Metropolitan Museum of Art, the Solomon Guggenheim Museum, Denver Art Museum, Yale University, Oberlin College, University of Arizona, the Fogg Art Museum at Harvard University, Smithsonian Institution, and the Montana Historical Association. Additional correspondence is found throughout desk files and artists' files as well.

Artists' files are found for artists represented by the gallery, or in whom the gallery took an interest. Contents of the files vary, but may contain correspondence, photographs, sales records, exhibition files, and printed materials. There is extensive material relating to artists Richard Diebenkorn, Willem de Kooning, Giorgio Spaventa, Robert De Niro, Earl Kerkam, Franz Kline, Milton Resnick, Eleanor Dickinson, Paul Harris, Jules Olitski, among others.

The remainder of the collection consists of financial and legal files containing sales inventories and receipts, price lists, bills, loan agreements, and documents pertaining to the estate of Giorgio Spaventa, as well as photographic materials consisting of prints, negatives, slides and color transparencies of artwork.
Arrangement:
This collection is arranged as 5 series.

Series 1: Elinor Poindexter Desk Files, 1947-1969 (Box 1, 8 folders)

Series 2: Correspondence, 1955-1971 (Box 1-2, 1.8 linear feet)

Series 3: Artists' Files, 1931-1983, undated (Box 2-5, 2.4 linear feet)

Series 4: Financial and Legal Files, 1955-1985 (Box 5-6, 1.0 linear feet)

Series 5: Photographic Materials, 1933-1977 (Box 6-7, 1.4 linear feet)
Biographical / Historical:
The Poindexter Gallery was founded in 1955 in New York City by Elinor Poindexter. The gallery specialized in sculpture, abstract, and figurative art and featured the works of such artists as Richard Diebenkorn, Jules Olitski, Nell Blaine, Willem de Kooning, Giorgio Spaventa, Franz Kline, Earl Kerkam, Milton Resnick and Robert De Niro, among others. The Poindexter Gallery closed in 1978.
Related Materials:
Among other resources relating to the Poindexter Gallery records in the Archives of American Art is an oral history with gallery owner, Elinor Poindexter, conducted by Paul Cummings on September 9, 1970.
Provenance:
The Poindexter Gallery records were donated over a period from 1968-1978 by the Poindexter Gallery via owners Elinor Poindexter and art director Harold Fondren. A 2006 accession was donated by Christie Poindexter Dennis, daughter of Elinor.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Poindexter Gallery records 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:
Art, Modern -- 20th century  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Poindexter Gallery records, 1931-1985, bulk 1955-1978, Archives of American Art, Smithsonian Institution
Identifier:
AAA.poingall
See more items in:
Poindexter Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-poingall
Additional Online Media:

Printed Matter, Inc. records

Creator:
Printed Matter, Inc  Search this
Names:
Davis, Douglas  Search this
DeAk, Edit  Search this
Fasnacht, Heide, 1951-  Search this
Huebler, Douglas  Search this
Lawler, Louise  Search this
LeWitt, Sol, 1928-2007  Search this
Linn, Nancy  Search this
Lippard, Lucy R.  Search this
Nonas, Richard, 1936-  Search this
Princenthal, Nancy  Search this
Rosler, Martha  Search this
Ruscha, Edward  Search this
Sischy, Ingrid  Search this
Spiegelman, Art  Search this
Stuart, Michelle, 1933-  Search this
Tacha, Athena, 1936-  Search this
Weiner, Lawrence.  Search this
Extent:
24.9 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Architectural drawings
Date:
1970-1990
Summary:
The records of Printed Matter, Inc., a non-profit artists' book publisher and distributor in New York, measure 24.9 linear feet and date from 1970 to 1990. Documentation on this organization includes artist, distributor, and client files; inventory records; legal and administrative records; general correspondence; ledgers, invoices, and other financial records; files arranged by subject; and architectural drawings of the interior office space. The administrative correspondence scattered across the various series shows Printed Matter's philosophy, operations, and relationships to artists. Many early notes and minutes are in Sol LeWitt's handwriting. Among the names to be found in the files are former staff members Edith deAk, Mike Glier, Nancy Linn, Ingrid Sischy, and Nancy Princenthal; founders Sol LeWitt and Lucy Lippard; and contracted artists, such as Douglas Davis, Heidi Fasnacht, Jenny Holzer, Douglas Huebler, Louise Lawler, Richard Nonas, Martha Rosler, Ed Ruscha, Art Spiegelman, Michelle Stuart, Athena Tacha, and Lawrence Weiner.
Scope and Contents:
The records of Printed Matter, Inc., a non-profit artists' book publisher and distributor in New York, measure 24.9 linear feet and date from 1970 to 1990. Documentation on this organization includes artist, distributor, and client files; inventory records; legal and administrative records; general correspondence; ledgers, invoices, and other financial records; files arranged by subject; and architectural drawings of the interior office space. The administrative correspondence scattered across the various series shows Printed Matter's philosophy, operations, and relationships to artists. Many early notes and minutes are in Sol LeWitt's handwriting. Among the names to be found in the files are former staff members Edith deAk, Mike Glier, Nancy Linn, Ingrid Sischy, and Nancy Princenthal; founders Sol LeWitt and Lucy Lippard; and contracted artists, such as Douglas Davis, Heidi Fasnacht, Jenny Holzer, Douglas Huebler, Louise Lawler, Richard Nonas, Martha Rosler, Ed Ruscha, Art Spiegelman, Michelle Stuart, Athena Tacha, and Lawrence Weiner.
Arrangement:
The collection is arranged as 9 series.

Artist Files, circa 1970-1990 (Boxes 1-3; 3.0 linear feet)

Distributor Files, 1976-1988 (Boxes 4-6; 3.0 linear feet)

Client Files, 1971-1989 (Boxes 7-8; 2.0 linear feet)

Inventory Cards, circa 1970s-1980s (Boxes 9-10; 2.0 linear feet)

Legal and Administrative Records, 1976-1989 (Boxes 11-13; 2.6 linear feet)

Correspondence, 1975-1986 (Boxes 13-14; 0.7 linear feet)

Subject Files, 1972-1990 (Boxes 14-20; 6.0 linear feet)

Financial Records, 1975-1989 (Boxes 20-25; 5.5 linear feet)

Architectural Drawings, circa 1985 (OV 26; 0.1 linear feet)
Biographical / Historical:
Printed Matter, Inc., a non-profit artists' book publisher and distributor in New York was established in 1976 by Sol LeWitt, Lucy Lippard, and others. The organization grew from a small business coalition of artists into the largest facility dedicated to publications made by artists in book form. By 1986, Printed Matter had published or disseminated books by more than 1800 artists. Its history also mirrors the trajectory of the downtown art scene in the 1970s and 1980s, for which it became a matrix, an outlet, and a representative.
Provenance:
Donated in 2001 by David Platzker for Printed Matter, Inc.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Publishers -- New York (State) -- New York  Search this
Topic:
Art galleries, Commercial -- New York (State) -- New York  Search this
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Architectural drawings
Citation:
Printed Matter, Inc. records, 1970-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.prinmati
See more items in:
Printed Matter, Inc. records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-prinmati
Additional Online Media:

Staempfli Gallery records

Creator:
Staempfli Gallery (New York, N.Y.)  Search this
Names:
Bischoff, Elmer, 1916-1991  Search this
Brown, Joan, 1938-1990  Search this
Bruno, Phillip A.  Search this
Park, David, 1911-1960  Search this
Peterson, Roland  Search this
Staempfli, George W.  Search this
Extent:
5.2 Linear Feet
Type:
Archival materials
Collection descriptions
Financial records
Tax records
Date:
1958-1992
Summary:
The Staempfli Gallery records measure 5.2 linear feet and date from 1958 to 1992. Scattered administrative and financial records, correspondence, sales invoices, inventory records, and exhibition catalogs document the business activities of this New York gallery.
Scope and Content Note:
The Staempfli Gallery records measure 5.2 linear feet and date from 1958 to 1992. Scattered administrative and financial records, correspondence, sales invoices, inventory records, and exhibition catalogs document the business activities of this New York gallery.

Administrative records include certificates of incorporation, minutes and by-laws, lease forms, and an employment agreement between Staempfli Gallery and its director Phillip A. Bruno.

Correspondence is with Joan Brown, David Park, Elmer Bischoff, and Roland Peterson. One file of general correspondence includes other letters to and from George Staempfli.

Financial records of are not comprehensive and primarily document financial activities from the late 1970s and 1980s. Included are annual financial reports, income tax records, records of commissions, and shipping invoices. During the mid-1980s the gallery had a sales tax audit, and many of the records of the gallery, including correspondence and notes regarding sales, sales invoices, and shipping records from 1980 to 1985 were gathered and can be found within these files.

Sales invoices are from 1986 to 1988 and include sales from the Chicago International Art Expo and Art Basel. Additional information regarding sale of artwork can also be found in the inventory records which consist of three inventory lists and an inventory card file. The inventory card file was maintained during the entire operation of the gallery from 1959 to 1992. Each work of art was given its own card and was filed alphabetically by artist. Researchers should note that cards for artists with a last name beginning with C through K were not included in the donation to the Archives of American Art.

Exhibition catalogs document one-person shows of modern American and European painters and sculptors, and several group exhibitions are also included. A few of the catalogs include annotations regarding price and sale of the exhibited works. Also found is one theater program inscribed to Geroge Steampfli by the artist Paul Delvaux.
Arrangement:
The collection is arranged as 5 series:

Series 1: Administrative Records, 1958-1991 (Box 1; 8 folders)

Series 2: Correspondence, 1959-1989 (Box 1; 6 folders)

Series 3: Financial Records, 1959-1991 (Box 1; 0.9 linear feet)

Series 4: Sales Records, 1986-1988 (Box 2; 8 folders)

Series 5: Inventory Records, 1959-1992 (Boxes 2-5; 3.2 linear feet)

Series 6: Printed Material, 1959-1988 (Boxes 5-6; 0.7 linear feet)
Historical Note:
Staempfli Gallery was established by George Staempfli in 1959 in New York City and specialized in modern art by European and American artists. George William Staempfli (1910-1999) was born in Bern, Switzerland, and moved to the United States in 1935. He worked at M. Knoedler & Company and was curator of paintings the Museum of Fine Arts in Houston from 1954 to 1956. He founded Staempfli Gallery in 1959 and exhibited the work of a variety of artists. Phillip A. Bruno served as co-director for over twenty years, until the gallery officially closed in 1988. George Staempfli retired to Annapolis, Maryland, in 1992, and lived there until his death in 1999.
Provenance:
Exhibition Catalogs were donated in 1989 by Philip Bruno, co-director of Staempfli Gallery. Additional records of the Staempfli Gallery were donated in 2010 by Candida Steel, George Staempfli's daughter and in 2014 by Robert Aichele, a private dealer in Sacramento, California, who purchased the letters from Barbara Staempfli, George Staempfli's widow.
Restrictions:
Use of original papers requires and appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Staempfli Gallery records 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  Search this
Art, Modern  Search this
Painters  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Financial records
Tax records
Citation:
Staempfli Gallery records, 1958-1992. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.staegall2
See more items in:
Staempfli Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-staegall2
Additional Online Media:

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