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B.R. Kornblatt Gallery records, 1971-1992

Creator:
B. R. Kornblatt Gallery  Search this
Subject:
Clapsaddle, Jerry  Search this
Rosenberg, Karl  Search this
Rauschenberg, Robert  Search this
Kahn, Wolf  Search this
Landfield, Ronnie  Search this
Motherwell, Robert Burns  Search this
Frankenthaler, Helen  Search this
Stella, Frank  Search this
Davis, Gene  Search this
Van Alstine, John  Search this
Chin, Mel  Search this
LeWitt, Sol  Search this
Kornblatt, Barbara R. (Barbara Rodbell),  Search this
Rothschild, Amalie  Search this
De Looper, Willem  Search this
Ferguson, John  Search this
Todd, Mike  Search this
Neri, Manuel  Search this
Chicago International Art Exposition  Search this
Topic:
Gallery records  Search this
Art galleries, Commercial  Search this
Photographs  Search this
Art, African  Search this
Art, Modern  Search this
Record number:
(DSI-AAA_CollID)10937
(DSI-AAA_SIRISBib)214715
AAA_collcode_brkornbl
Theme:
The Art Market
Art Movements and Schools
Lives of American Artists
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214715
Additional Online Media:

Oral history interview with Tibor de Nagy, 1976 March 29

Interviewee:
De Nagy, Tibor, 1908-1993  Search this
Interviewer:
Cummings, Paul, 1933-  Search this
Subject:
Hess, Thomas B.  Search this
Andre, Carl  Search this
Myers, John Bernard  Search this
O'Hara, Frank  Search this
Castelli, Leo  Search this
Frankenthaler, Helen  Search this
Rivers, Larry  Search this
Hartigan, Grace  Search this
Bates, Alex  Search this
Nivola, Costantino  Search this
Freilicher, Jane  Search this
Tibor de Nagy Gallery  Search this
Topic:
Interviews  Search this
Art galleries, Commercial  Search this
Sound recordings  Search this
Art dealers  Search this
Record number:
(DSI-AAA_CollID)12568
(DSI-AAA_SIRISBib)212028
AAA_collcode_denagy76
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212028

Gertrude Kasle Gallery records, 1949-1999, bulk, 1964-1983

Creator:
Gertrude Kasle Gallery (Detroit, Mich.)  Search this
Subject:
Oldenburg, Claes  Search this
Dine, Jim  Search this
De Kooning, Willem  Search this
Johnson, Ray  Search this
Jenkins, Paul  Search this
Nesbitt, Lowell  Search this
Pollock, Charles C. (Charles Cecil)  Search this
Gottlieb, Adolph  Search this
Goodman, Brenda Joyce  Search this
Motherwell, Robert Burns  Search this
Rauschenberg, Robert  Search this
Tall, Bill  Search this
Frankenthaler, Helen  Search this
Hartigan, Grace  Search this
Goodnough, Robert  Search this
Kasle, Gertrude  Search this
Guston, Philip  Search this
Natkin, Robert  Search this
Tworkov, Jack  Search this
Goodyear, John L.  Search this
Todd, Mike  Search this
Schmidt, Julius  Search this
Bontecou, Lee  Search this
Grosman, Tatyana  Search this
Shapiro, Babe  Search this
Kasle/Colby Art Consultants  Search this
Universal Limited Art Editions (Firm)  Search this
Topic:
Photographs  Search this
Art galleries, Commercial  Search this
Sound recordings  Search this
Works of art  Search this
Interviews  Search this
Art, Modern  Search this
Record number:
(DSI-AAA_CollID)5704
(DSI-AAA_SIRISBib)208540
AAA_collcode_gertkasl
Theme:
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208540
Additional Online Media:

Tanager Gallery records, 1952-1979

Creator:
Tanager Gallery (New York, N.Y.)  Search this
Subject:
Wesselmann, Tom  Search this
Burckhardt, Rudy  Search this
Hofmann, Hans  Search this
Brooks, James  Search this
Cherry, Herman  Search this
Rauschenberg, Robert  Search this
Cajori, Charles  Search this
Katz, Alex  Search this
Arnold, Anne  Search this
Fine, Perle  Search this
King, William Dickey  Search this
Hazelet, Sally  Search this
Rivers, Larry  Search this
Frankenthaler, Helen  Search this
Guston, Philip  Search this
Geist, Sidney  Search this
Dodd, Lois  Search this
Pearlstein, Philip  Search this
Ippolito, Angelo  Search this
Stamos, Theodoros  Search this
Topic:
Art, Abstract  Search this
Photographs  Search this
Diaries  Search this
Art, Modern  Search this
Sketches  Search this
Art galleries, Commercial  Search this
Scrapbooks  Search this
Record number:
(DSI-AAA_CollID)7221
(DSI-AAA_SIRISBib)209359
AAA_collcode_tanagall
Theme:
Diaries
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209359
Additional Online Media:

Nicholas Wilder Gallery records, 1944-1984, (bulk 1968-1979)

Creator:
Nicholas Wilder Gallery  Search this
Subject:
Wilder, Nicholas  Search this
Davis, Ronald  Search this
Goode, Joe  Search this
Altoon, John  Search this
Nauman, Bruce  Search this
Graham, Robert  Search this
Olitski, Jules  Search this
Holland, Tom  Search this
Price, Kenneth Martin  Search this
Francis, Sam  Search this
Hofmann, Hans  Search this
Hockney, David  Search this
Noland, Kenneth  Search this
Twombly, Cy  Search this
McCracken, John  Search this
Yokomi, Richard  Search this
Moses, Ed  Search this
Frankenthaler, Helen  Search this
Avedisian, Edward  Search this
Bengston, Billy Al  Search this
Martin, Agnes Bernice  Search this
James Corcoran Gallery  Search this
Topic:
Art dealers  Search this
Artists  Search this
Art galleries, Commercial  Search this
Record number:
(DSI-AAA_CollID)6190
(DSI-AAA_SIRISBib)216434
AAA_collcode_nichwild
Theme:
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216434
Additional Online Media:

Fendrick Gallery records, 1952-2001

Creator:
Fendrick Gallery  Search this
Subject:
Bailey, William  Search this
Tenneson, Joyce  Search this
Arneson, Robert  Search this
Cottingham, Robert  Search this
da Conceicao, Maria  Search this
Lalanne, Claude  Search this
Brush, Daniel  Search this
Dusenbery, Walter  Search this
Benes, Barton Lidic  Search this
Gilliam, Sam  Search this
Castle, Wendell  Search this
Raffael, Joseph  Search this
Frankenthaler, Helen  Search this
Lalanne, Fran­cois Xavier  Search this
Dreyfuss, John  Search this
Johns, Jasper  Search this
Woodyard, William  Search this
Drake, James  Search this
Kaskey, Raymond J.  Search this
Summers, Carol  Search this
Paley, Albert  Search this
Barbara Fendrick Gallery  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Topic:
Jewelers  Search this
Art, Modern  Search this
Art  Search this
Printmakers  Search this
Artists' books  Search this
Photographs  Search this
Artists  Search this
Sculptors  Search this
Art galleries, Commercial  Search this
Metal-workers  Search this
Painters  Search this
Furniture designers  Search this
Account books  Search this
Record number:
(DSI-AAA_CollID)6271
(DSI-AAA_SIRISBib)216614
AAA_collcode_fendgall
Theme:
The Art Market
Art Gallery Records
Craft
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216614
Additional Online Media:

André Emmerich Gallery records and André Emmerich papers, 1929-2008

Creator:
André Emmerich Gallery  Search this
Subject:
Emmerich, Andre  Search this
Pepper, Beverly Stoll  Search this
Olitski, Jules  Search this
Francis, Sam  Search this
Hockney, David  Search this
Hofmann, Hans  Search this
Greenberg, Clement  Search this
Noland, Kenneth  Search this
Caro, Anthony  Search this
Frankenthaler, Helen  Search this
Louis, Morris  Search this
Sotheby's (Firm)  Search this
Sotheby Parke Bernet & Co  Search this
Galerie André Emmerich  Search this
Topic:
Art  Search this
Sculpture, Abstract  Search this
Visitors' books  Search this
Photographs  Search this
Etchings  Search this
Artists' studios  Search this
Color-field painting  Search this
Scrapbooks  Search this
Art galleries, Commercial  Search this
Video recordings  Search this
Sound recordings  Search this
Record number:
(DSI-AAA_CollID)6275
(DSI-AAA_SIRISBib)216620
AAA_collcode_andremmg
Theme:
The Art Market
Lives of American Artists
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216620
Additional Online Media:

Oral history interview with Sylvan Cole, 2000 June-October

Interviewee:
Cole, Sylvan, 1918-2005  Search this
Interviewer:
Berman, Avis, 1949-  Search this
Subject:
Lieberman, William Slattery  Search this
Drewes, Werner  Search this
Barnet, Will  Search this
Hopper, Edward  Search this
Motherwell, Robert Burns  Search this
Hofmann, Hans  Search this
Lewenthal, Reeves  Search this
Johnson, Una E.  Search this
Hockney, David  Search this
Florsheim, Richard A.  Search this
Frankenthaler, Helen  Search this
Soyer, Raphael  Search this
Kainen, Jacob  Search this
Levine, Jack  Search this
Associated American Artists  Search this
Topic:
Sound recordings  Search this
Art dealers  Search this
Authors  Search this
Prints  Search this
Interviews  Search this
Art galleries, Commercial  Search this
Record number:
(DSI-AAA_CollID)11629
(DSI-AAA_SIRISBib)224056
AAA_collcode_cole00
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_224056
Additional Online Media:

New York Artists Equity Association records, 1920-2012

Creator:
New York Artists Equity Association  Search this
Subject:
Simon, Sidney  Search this
O'Hanlon, Richard E. (Richard Emmett)  Search this
Marinoff, Elaine  Search this
Steinbaum, Bernice  Search this
Stirton, Laura  Search this
Gross, Chaim  Search this
Laufman, Sidney  Search this
Zerbe, Karl  Search this
Walker, Hudson D. (Hudson Dean)  Search this
Mandel, Howard  Search this
Carswell, Mary  Search this
Newman, Elias  Search this
Diener, Bert  Search this
Nevelson, Louise  Search this
Kramer, Hilton  Search this
Gillespie, Dorothy Muriel  Search this
Knight, Gwendolyn  Search this
Phillips, Renée  Search this
Zaleski, Jean  Search this
Gussow, Alan  Search this
Frankenthaler, Helen  Search this
Facci, Domenico Aurelio  Search this
Poroner, Palmer  Search this
Sandler, Irving  Search this
Fiene, Ernest  Search this
Lipsky, Eleanor  Search this
Sloan, John French  Search this
Kertess, Klaus  Search this
Karp, Ivan C.  Search this
Winters, Denny Sonke  Search this
Gussow, Roy  Search this
Goulet, Lorrie H.  Search this
Fuller, Sue  Search this
Bibro, Denise  Search this
Golub, Leon  Search this
Brodski, Judith  Search this
Hayter, Stanley William  Search this
Waterson, Harry  Search this
Ashford, Doug  Search this
Kotik, Charlotte  Search this
Lawrence, Jacob  Search this
Cohen, Jean  Search this
Rothschild, Lincoln  Search this
Wayne, June Claire  Search this
Kroll, Leon  Search this
Babin, Angela  Search this
Smith, David  Search this
Searles, Charles Robert  Search this
Teller, Susan  Search this
Newman, Arnold  Search this
Berger, Ted  Search this
Bolotsky, Marvin  Search this
Smart, Bill  Search this
Phillips, Helen  Search this
Hall, Nan  Search this
Hasen, Burt  Search this
Morris, George L. K. (George Lovett Kingsland)  Search this
Reeves, Ruth  Search this
deLisser, Carolyn  Search this
Refregier, Anton  Search this
Kuniyoshi, Yasuo  Search this
Marxer, Donna  Search this
Avery, Frances  Search this
Concholar, Dan  Search this
Millman, Edward  Search this
Art Bank (U.S.)  Search this
Artists Welfare Fund  Search this
Broome Street Gallery  Search this
Topic:
Scrapbooks  Search this
Art  Search this
Sound recordings  Search this
Artists  Search this
Art galleries, Commercial  Search this
Video recordings  Search this
Sketches  Search this
Photographs  Search this
Record number:
(DSI-AAA_CollID)9541
(DSI-AAA_SIRISBib)211741
AAA_collcode_nyarteqa
Theme:
Communities, Organizations, Museums
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211741
Additional Online Media:

B.R. Kornblatt Gallery records

Creator:
B. R. Kornblatt Gallery  Search this
Names:
Chicago International Art Exposition  Search this
Chin, Mel, 1951-  Search this
Clapsaddle, Jerry, 1941-  Search this
Davis, Gene, 1920-1985  Search this
De Looper, Willem  Search this
Ferguson, John, 1939-  Search this
Frankenthaler, Helen, 1928-2011  Search this
Kahn, Wolf, 1927-  Search this
Kornblatt, Barbara R. (Barbara Rodbell), 1931-  Search this
Landfield, Ronnie, 1947-  Search this
LeWitt, Sol, 1928-2007  Search this
Motherwell, Robert  Search this
Neri, Manuel, 1930-  Search this
Rauschenberg, Robert, 1925-2008  Search this
Rosenberg, Karl  Search this
Rothschild, Amalie, 1916-  Search this
Stella, Frank  Search this
Todd, Mike, 1935-  Search this
Van Alstine, John, 1952-  Search this
Extent:
4.1 Linear feet
Type:
Archival materials
Collection descriptions
Gallery records
Photographs
Date:
1971-1992
Summary:
The records of the B. R. Kornblatt Gallery of Baltimore, Md. and Washington, D.C. measure 4.1 linear feet and date from 1971 to 1992. The collection consists primarily of artists' files along with a few exhibition files and sales records.
Scope and Contents:
The records of the B. R. Kornblatt Gallery of Baltimore, Md. and Washington, D.C. measure 4.1 linear feet and date from 1971 to 1992. The collection consists primarily of artists' files along with a few exhibition files and sales records.

Exhibition files are found for the Chicago International Art Exposition (1983-1988), the International Sculpture '90 (1990) exhibition, and exhibitions of African art. Artists' files contain correspondence, photographs and slides, resumes, and financial and printed material for numerous artists associated with the gallery or of interest to the gallery, including Mel Chin, Jerry Clapsaddle, Gene Davis, John Ferguson, Wolf Kahn, Willem de Looper, Helen Frankenthaler, Ronnie Landfield, Manuel Neri, Sol LeWitt, Robert Motherwell, Robert Rauschenberg, Karl Rosenberg, Amalie Rothschild, Frank Stella, Michael Todd, John Van Alstine, and others. The collection also contains sales records.
Arrangement:
The collection is arranged as 3 series.

Series 1: Exhibition Files, 1981-1990 (0.5 linear feet; Box 1)

Series 2: Artists' Files, 1971-1992 (3.0 linear feet; Box 1-4, OV 5)

Series 3: Sales Records, 1988-1992 (0.5 linear feet; Box 4)
Biographical / Historical:
Barbara R. Kornblatt established the B. R. Kornblatt Gallery in 1975 on 326 North Charles Street in Baltimore, Maryland. The gallery specialized in American painting, sculpture, and works on paper. In 1980, Kornblatt moved the gallery to 406 Seventh Street, N.W. in Washington, D. C. where it became the mainstay of downtown commercial art galleries. In the late 1980s and early 1990s, the gallery began feeling the effects of the economic recession, and then suffered a fire in the building. Kornblatt closed the gallery in 1991.
Provenance:
The B.R. Kornblatt Gallery records were donated by Barbara R. Kornblatt in 1992.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Rights:
The B.R. Kornblatt 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, African -- 20th century -- Exhibitions  Search this
Art galleries, Commercial -- Washington (D.C.)  Search this
Art galleries, Commercial -- Maryland -- Baltimore  Search this
Genre/Form:
Gallery records
Photographs
Citation:
B. R. Kornblatt Gallery records, 1971-1992. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.brkornbl
See more items in:
B.R. Kornblatt Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-brkornbl

Nicholas Wilder Gallery records

Creator:
Nicholas Wilder Gallery  Search this
Names:
James Corcoran Gallery  Search this
Altoon, John, 1925-  Search this
Avedisian, Edward, 1936-2007  Search this
Bengston, Billy Al  Search this
Davis, Ron, 1937-  Search this
Francis, Sam, 1923-  Search this
Frankenthaler, Helen, 1928-2011  Search this
Goode, Joe, 1937-  Search this
Graham, Robert, 1938-  Search this
Hockney, David  Search this
Hofmann, Hans, 1880-1966  Search this
Holland, Tom, 1936-  Search this
Martin, Agnes, 1912-2004  Search this
McCracken, John, 1934-2011  Search this
Moses, Ed, 1926-  Search this
Nauman, Bruce, 1941-  Search this
Noland, Kenneth, 1924-  Search this
Olitski, Jules, 1922-  Search this
Price, Kenneth, 1935-2012  Search this
Twombly, Cy, 1928-  Search this
Wilder, Nicholas  Search this
Yokomi, Richard  Search this
Extent:
2.4 Linear feet
Type:
Archival materials
Collection descriptions
Date:
1944-1984
bulk 1968-1979
Summary:
The records of the Nicholas Wilder Gallery of Los Angeles measure 2.4 linear feet and date from 1944 through 1984, with the bulk of materials dating from 1968-1979. Scattered documentation of the contemporary art gallery's fourteen years of operation include artists' inventory cards, photographic transparencies, letters and correspondence, invitations, notes, business and financial documents, and printed materials.
Scope and Content Note:
The records of the Nicholas Wilder Gallery of Los Angeles measure 2.4 linear feet and date from 1944 through 1984, with the bulk of materials dating from 1968 to 1979. Scattered documentation of the contemporary art gallery's fourteen years of operation include artists' inventory cards (the bulk of the collection), photographic transparencies, letters and correspondence, invitations, notes, business and financial documents, and printed materials.

The majority of records date from the period after the gallery moved to La Cienega Boulevard to Santa Monica Boulevard in Los Angeles, California. Very few records pertaining to specific exhibitions or openings are included in this collection. However, there is one exhibition catalog and scattered gallery invitations which were used as scrap paper. Other materials include business records that contain financial materials and notes. Printed Materials contain popular newspapers and magazines that reflect Wilder's interests, invitations to other galleries, auction catalogs, and business cards. Correspondence includes scattered gallery correspondence, Wilder's personal correspondence and documents, and holiday cards.

The bulk of the collection consists of artist files which include inventory cards and transparencies of works of art. Information on the inventory cards and transparencies may specify: date of creation, date of accession, potential collectors, purchase records, and titles. Notable artists include: Joe Goode, Tom Holland, Robert Graham, Billy Al Bengston, Cy Twombly, Ken Price, Ed Moses, Ron Davis, John McCracken, Kenneth Noland, Helen Frankenthaler, Jules Olitski, Agnes Martin, Edward Avedisian, John Altoon, Richard Yokomi, Sam Francis, Bruce Nauman, Hans Hofmann, and David Hockney. The majority of inventory cards reflect business at the gallery in the mid-late 1970s.

Financial records originating from the James Corcoran Gallery are included in this collection. The relationship between the two establishments is unclear although it seems that the James Corcoran Gallery moved into the space previously occupied by the Nicholas Wilder Gallery.
Arrangement:
The collection is arranged into four series:

Series 1: Business Records, 1968-1978, 1980-1984, circa 1970s (Box 1; 5 folders)

Series 2: Correspondence, 1974-1981, circa 1970s (Box 1; 4 folders)

Series 3: Printed Material, 1976-1980, circa 1970s (Box 1; 9 folders)

Series 4: Artist Files, 1944-1984, circa 1960s-1970s (Box 1-3; 2 linear feet)
Historical Note:
In April 1965, Nicholas Wilder (1937-1989) founded his contemporary art gallery at 814 North La Cienega Boulevard in Los Angeles, California. His interest in art started at Amherst College where he worked for the art department as a slide technician. While in graduate school at Stanford University, he worked at the Lanyon Gallery in Palo Alto, California. An initial offer of financial backing to open a gallery inspired a move to Los Angeles. Although that offer fell through, Wilder remained determined. In late 1964, Wilder sold shares of his future gallery to friends in order to secure funds. He bought the shares back shortly after opening.

The Nicholas Wilder Gallery's first show featured Edward Avedisian. The gallery expanded and featured artists from New York and California, including: Joe Goode, John McCracken, Kenneth Noland, Helen Frankenthaler, Jules Olitski, Cy Twombly, Ed Moses, Ken Price, Agnes Martin, John Altoon, Sam Francis, Billy Al Bengston, and Hans Hofmann. The gallery helped start the careers of American artists such as Robert Graham, Tom Holland, Ron Davis, and Bruce Nauman. In 1970, the gallery moved to 8225 ½ Santa Monica Boulevard. Through its fourteen years of operation, the gallery held a new show every month. Wilder's openings represented a large source of pride and he ensured that every opening reception included a stocked bar for his clients.

Initially, the gallery succeeded through Wilder's talents and passion for art. At its peak, the Nicholas Wilder Gallery sold two million dollars worth of art per year. However, in the mid-1970s a change in attitude within the art world affected sales. According to Wilder, many artists no longer painted for expression but as a viable business venture. Furthermore, he claimed that buyers would not risk collecting works from a younger or less well-known artist. In addition to these factors, Wilder attributed the decline of his gallery to his extravagance and lack of business sensibilities. Eventually, the gallery faced financial problems and Wilder recognized the need to leave the business.

The Nicholas Wilder Gallery closed on December 31, 1979. Wilder informed his employees that he would close a year in advance and ensured that all of his artists found a new gallery for representation. He moved to New York after leaving his gallery and became an artist. Nicholas Wilder passed away in 1989 from AIDS-related causes.
Related Material:
Also found in the Archives of American Art is an oral history interview with Nicholas Wilder conducted by Ruth Bowman on July 18, 1988.

Nicholas Wilder Gallery records, 1927-1980, are also located at the Getty Research Institute.
Provenance:
The Nicholas Wilder Gallery records were donated to the Archives of American Art in 1998 by Matthew Curtis Klebaum, a friend of Wilder's and a former employee of the James Corcoran Gallery.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Nicholas Wilder 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 -- California -- Los Angeles  Search this
Art dealers -- California -- Los Angeles  Search this
Artists -- California -- Los Angeles  Search this
Citation:
Nicholas Wilder Gallery records, 1944-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nichwild
See more items in:
Nicholas Wilder Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-nichwild
Additional Online Media:

Tanager Gallery records

Creator:
Tanager Gallery  Search this
Names:
Arnold, Anne, 1926-  Search this
Brooks, James, 1906-1992  Search this
Burkhardt, Rudy  Search this
Cajori, Charles, 1921-  Search this
Cherry, Herman  Search this
Dodd, Lois, 1927-  Search this
Fine, Perle, 1908-1988  Search this
Frankenthaler, Helen, 1928-2011  Search this
Geist, Sidney  Search this
Guston, Philip, 1913-1980  Search this
Hazelet, Sally  Search this
Hofmann, Hans, 1880-1966  Search this
Ippolito, Angelo  Search this
Katz, Alex, 1927-  Search this
King, William, 1925-2015  Search this
Pearlstein, Philip, 1924-  Search this
Rauschenberg, Robert, 1925-2008  Search this
Rivers, Larry, 1925-2002  Search this
Stamos, Theodoros, 1922-1997  Search this
Wesselmann, Tom, 1931-2004  Search this
Extent:
2.6 Linear feet
Type:
Archival materials
Collection descriptions
Diaries
Scrapbooks
Photographs
Sketches
Date:
1952-1979
Summary:
The records of contemporary New York City Tanager Gallery measure 2.6 linear feet and date from 1952 to 1979. Found are administrative files, financial and legal records including detailed receipt books, scattered correspondence, artists' files for circa 70 artists that include price lists and biographies, two scrapbooks of printed materials, newsclippings, exhibition announcements and other printed materials, and five photographs of openings at the gallery and of the exterior of the building.
Scope and Content Note:
The records of contemporary New York City Tanager Gallery measure 2.6 linear feet and date from 1952 to 1979. Found are administrative files, financial and legal records including detailed receipt books, scattered correspondence, artists' files for circa 70 artists that include price lists and biographies, two scrapbooks of printed materials, newsclippings, exhibition announcements and other printed materials, and five photographs of openings at the gallery and of the exterior of the building.

Administrative files include four day books, lists of artists and exhibitions, historical sketches, and an address book. There are two ledger books of expenses for shows and four receipt books from 1959-1962 which are organized by date and list artist, and artwork, buyer, and price. Correspondence is arranged chronologically and comprised mainly of copies of letters sent by the Gallery to artists as invitations to exhibit. Also found are scattered letters from museums and artists.

There are artists' files for circa 70 artists that contain a variety of materials, including price lists and biographies or resumes. Artists files are found for Anne Arnold, James Brooks, Charles Cajori, Herman Cherry, Lois Dodd, Sally Hazelet Drummond, Perle Fine, Helen Frankenthaler, Sidney Geist, Philip Guston, Hans Hofmann, Angelo Ippolito, Philip Pealstein, Alex Katz, William King, Robert Rauschenberg, Larry Rivers, Theordore Stamos, and Tom Wesselmann among many others.

The collection includes two scrapbooks containing mostly newsclippings and exhibition announcements, as well as additional loose newsclippings, numerous exhibition announcements and catalogs, and press releases. There are five photographs of gallery openings and the exterior of the building, the latter taken by Rudy Burkhardt.
Arrangement:
The collection is arranged as 7 series:

Series 1: Administrative Files, 1952-1979 (Boxes 1, 4; 0.5 linear feet)

Series 2: Financial and Legal Records, 1952-1962 (Box 1; 0.5 linear feet)

Series 3: Correspondence, 1952-1967 (Boxes 1-2; 0.3 linear feet)

Series 4: Artists Files, circa 1952- circa 1962 (Box 2; 0.1 linear feet)

Series 5: Scrapbooks, circa 1962 (Boxes 2-3; 0.3 linear feet)

Series 6: Printed Material, 1952-1971 (Boxes 2, 4; 0.3 linear feet)

Series 7: Photographs, circa 1952-circa 1959 (Box 2; 2 folders)
Historical Note:
The Tanager Gallery operated from 1952-1962 in New York City. The gallery was one of the first artist cooperative galleries formed on 10th Street in Manhattan to provide an alternative to the larger upscale galleries of Madison Avenue.

In 1952, the artist cooperative Tanager Gallery opened at 90 East 10th Street in Manhattan. Co-founders included Charles Cajori, Lois Dodd, Angelo Ippolito, William King, and Fred Mitchell. The Tanager offered open spaces for young artists to show their work and to sell art on their own terms. Membership at the Tanager included American Realists Alex Katz and Philip Pearlstein, and the Pop art/found-art collagist Tom Wesselmann. Later artists to join the cooperatiive included Mary Abbott, Perle Fine, Sidney Geist, Joseph Groell, Nanno de Groot, Sally Hazelet, Ben Isquith, Lester Johnson, Nicholas Marsicano, George Earl Ortman, Charlotte Park, Philip Pearlstein, Frank Stout, Raymond Rocklin, and Sal Sirugo. From 1952 to 1962, the Tanager Gallery exhibited works from about 250 artists.

The opening of Tanager and other 10th Street galleries was a radical change for the New York arts scene and for emerging New York artists who generally found representation with uptown gallery owners and/or art dealers on 57th Street or Madison Ave. In the 1950s, Manhattan's 10th Street was a gathering place for young artist-bohemians. The galleries were often the centers for anything avant-garde or new, such as art installations, happenings, poetry readings, jazz sessions, and performance art. For example, Tanager Gallery hosted a series of forums with local artists who would discuss their work and objectives.

Tanager Gallery received attention and respect from the more established art galleries and critics in New York, including Dore Ashton, Leo Castelli, Tom Hess, Martha Jackson, and Dorothy Miller. The Tanager Gallery closed in 1962.
Related Material:
Among the holdings of the Archives of American Art are the Lois Dodd papers, 1952-2001 and an oral history interview with Lois Dodd by Barbara Shikler from 1988.
Provenance:
Lois Dodd, co-founder of the Tanager Gallery, donated the Tanager Gallery records in several increments between 1972 and 1989.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Tanager 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, Abstract -- New York (State) -- New York  Search this
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Diaries
Scrapbooks
Photographs
Sketches
Citation:
Tanager Gallery records, 1952-1979. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.tanagall
See more items in:
Tanager Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-tanagall
Additional Online Media:

Fendrick Gallery records

Creator:
Fendrick Gallery  Search this
Names:
Barbara Fendrick Gallery  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Arneson, Robert, 1930-1992  Search this
Bailey, William, 1930-  Search this
Benes, Barton Lidic  Search this
Brush, Daniel  Search this
Castle, Wendell, 1932-  Search this
Cottingham, Robert, 1935-  Search this
Drake, James, 1946-  Search this
Dreyfuss, John, 1949-  Search this
Dusenbery, Walter, 1939-  Search this
Frankenthaler, Helen, 1928-2011  Search this
Gilliam, Sam  Search this
Johns, Jasper, 1930-  Search this
KaskeyRaymond J., 1943-  Search this
Lalanne, Claude  Search this
Lalanne, François Xavier  Search this
Maria da Conceição  Search this
Paley, Albert  Search this
Raffael, Joseph, 1933-  Search this
Summer, Carol  Search this
Tenneson, Joyce, 1945-  Search this
Woodyard, William  Search this
Extent:
106.4 Linear feet
Type:
Archival materials
Collection descriptions
Account books
Photographs
Date:
1952-2001
Summary:
The records of the Fendrick Gallery measure 106.4 linear feet and span the years 1952 to 2001. The bulk of the collection is comprised of artist's files that document the gallery's relations with and representation of over 300 contemporary artists and sculptors, including Robert Arneson, William Bailey, Daniel Brush, Wendell Castle, Robert Cottingham, James Drake, John Dreyfuss, Walter Dusenbury, Roger Essley, Helen Frankenthaler , Sam Gilliam, Jasper Johns, Raymond Kaskey, Claude and Francois Lalanne, Albert Paley, Joseph Raffael, Carol Summer, and numerous other artists. Also found are subject, exhibition, commission, administrative, and financial files, as well as files documenting the gallery's relationship with other museums and galleries.
Scope and Content Note:
The records of the Fendrick Gallery measure 106.4 linear feet and span the years 1952 to 2001. The bulk of the collection is comprised of artist's files that document the gallery's relationships with and representation of over 300 contemporary artists, including Robert Arneson, William Bailey, Daniel Brush, Wendell Castle, Robert Cottingham, James Drake, John Dreyfuss, Walter Dusenbury, Roger Essley, Helen Frankenthaler, Sam Gilliam, Jasper Johns, Raymond Kaskey, Claude and Francois Lalanne, Albert Paley, Joseph Raffael, Carol Summer, and numerous other artists. Also found are subject, exhibition, commission, administrative, and financial files, as well as files documenting the gallery's relationship with other museums and galleries.

Series 1, Artist's Files, measures almost 42 linear feet and dates from 1962-2001. Found here are files documenting the gallery's relationship with over 300 contemporary artists. Files typically contain correspondence, sales receipts, printed materials, exhibition catalogs and announcements, commission information, photographs, slides, and other materials.

Series 2, Albert Paley, 1970-2001, and undated, provides detailed documentation (14.5 linear feet) of the Fendrick gallery's representation of prominent American metal sculptor Albert Paley. The gallery represented Paley from the early 1980s through the early 1990s and devoted a great deal of its resources promoting Paley's work through exhibitions and commissioned sales. Correspondence between the Fendrick Galleries and Paley Studios is found in this series, along with publicity materials, commission proposals and sketches, exhibition materials, and audio-visual and photographic documentation of Paley's work. Researchers should also consult Series 3 for additional documentation of Paley's commissioned projects.

Series 3, Commissioned Works and Projects, 1972-2000, and undated, documents the variety of commissions and special projects the gallery arranged and managed on behalf of its represented artists. Because privately commissioned work and government-sponsored public art projects represented a significant source of revenue for the Fendrick galleries, the gallery devoted a substantial amount of time and resources towards securing these projects. These files contain applications, proposals, sketches, correspondence, photographs and other material arranged by name of project.

Series 4, Exhibition Files, 1961, 1970-1996, and undated, houses files relating to exhibitions organized by Fendrick Gallery. Found here are exhibition announcements, invitations, and catalogs; specific named exhibition files; and files concerning special projects or exhibitions, often jointly curated with other galleries or institutions. The Fendrick gallery was also actively involved in various governmental programs, such as Art in the Embassies Program, and organized traveling exhibits or loaned artwork to them.

The gallery's relationships with other galleries, museums, institutions, and art organizations is documented in Series 5, Museums and Galleries Files, 1952-2000, and undated. Many of the files concern loans, exhibition venues, and joint exhibitions or projects.

Series 6, Subject Files, 1952, 1960-2001, and undated contain numerous files arranged by subject heading. Here, researchers will find information collected and maintained by the gallery on various art medium, artists of interest, exhibition catalogs from museums and other galleries, information about small and fine art presses. Of particular interest are several folders entitled "Fine Art Printers & Publishers." Barbara Fendrick's early years in the art business centered upon exhibiting, promoting, and selling prints produced by young, emerging American artists. The information found here documents her growing personal relationships with some of the most prominent artists and printmakers of this era.

Records documenting administrative, business, operating, and financial affairs are arranged in Series 7, Administrative and Financial Files, 1960-2001, and undated. Found here are records of both the Barbara Fendrick Gallery (New York) and the Fendrick Gallery (Washington, D.C.), as well as files that document Barbara Fendrick's role as art consultant, appraiser, lecturer, exhibition juror, and guest curator. Found are numerous inventory cards, insurance records, consignment files, general correspondence, lists, loan files, notebooks, real estate files, card files on artists and clients, and history files. Of particular interest are the Day Books/Dailies maintained by the New York gallery staff consisting of entries and notes regarding prospective clients and their interests. The Telephone Log Books contain details of telephone conversations with artists, clients, dealers, and other art professionals. Series 7 also houses the financial records of both galleries, including invoices, financial statements, expenses, accounts, and tax records.
Arrangement:
The Fendrick Gallery records were processed to the series, subseries, and folder level. The collection is arranged into seven series. Items within folders, for the most part, were not fully sorted or preserved. When possible, materials were generally arranged at least by year. Within Series 1, Artists' Files, each set of folders for a particular artist are only given span dates. Due to the amount and complexity of material compiled on the artist Albert Paley, his files are arranged into a separate series of their own.

Series 1: Artists Files, 1962-2001, undated (Box 1-42, OV 108-110; 41.5 linear ft.)

Series 2: Albert Paley, 1970-2001, undated (Box 42-54; Box 107, OV 111-113, 117-118, FC 119; 14.6 linear ft.)

Series 3: Commissioned Works and Projects, 1972- 2000, undated (Box 54-57; 3.5 linear ft.)

Series 4: Exhibition Files, 1961, 1970-1996, undated (Box 58-63; 5.5 linear feet)

Series 5: Museums and Galleries Files, 1952-200, undated (Box 64-73; 9.25 linear feet)

Series 6: Subject Files, 1952, 1960-2001, undated (Box 73-88, OV 115-116, FC 120; 15.6 linear ft.)

Series 7: Administrative and Financial Files, undated (Box 88-106; OV)
Historical Note:
The Fendrick Gallery was established in 1960 as a "by appointment only" gallery out of Barbara Fendrick's Washington, D.C. area home. Initially the gallery promoted contemporary American and European prints by emerging artists and also commissioned print editions by nationally known artists. During the mid 1960s, the Fendrick Gallery also coordinated and produced art exhibitions on a contract basis for the United States Information Agency. The gallery was responsible for organizing the first large American art exhibition at the Department of State and the Federal Reserve.

In May, 1970 the Fendrick Gallery moved into a three-story townhouse in Georgetown and began presenting regular exhibitions open to the public. The gallery offered many prominent American artists, such as Robert Arneson, Jim Dine, Helen Frankenthaler, Jasper Johns, Louise Nevelson, and Robert Rauschenberg their first solo shows in the nation's capital. The Fendrick Gallery also represented many nationally known sculptors, such as John Dreyfuss, Walter Dusenbery, Raymond Kaskey, and Albert Paley.

Over the years, Fendrick Gallery promoted many emerging artists who were breaking down the barriers between art and craft in the areas of clay, furniture, metal, and book arts. The gallery held the first major show of contemporary ceramics on the East Coast, with the 1976 exhibition, Clay USA. The gallery also received critical acclaim for its exhibitions in the area of "book arts" and held four shows featuring the works of prominent American and international book artists.

In 1987 and 1988, the gallery expanded and opened the Barbara Fendrick Gallery in the Soho section of New York City. The New York location operated as both a gallery space and storage area and was often referred to as "The Warehouse." Both the Fendrick Gallery and the Barbara Fendrick Gallery closed in the summer of 1991, but Barbara Fendrick continues to work as an art consultant, appraiser, exhibition juror, lecturer, and guest curator.
Provenance:
The records of the Fendrick Gallery were donated to the Archives of American Art by Barbara Fendrick in 1999, with an addition to the records in 2001.
Restrictions:
The collection is open for research. Use of unmicrofilmed material requires an appointment.
Rights:
The Fendrick 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 -- Washington (D.C.)  Search this
Furniture designers  Search this
Artists -- Washington (D.C.)  Search this
Art, Modern -- 20th century -- Washington (D.C.)  Search this
Sculptors  Search this
Artists' books  Search this
Art galleries, Commercial -- Washington (D.C.)  Search this
Painters  Search this
Printmakers  Search this
Metal-workers  Search this
Jewelers  Search this
Genre/Form:
Account books
Photographs
Citation:
Fendrick Gallery records, 1952-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.fendgall
See more items in:
Fendrick Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-fendgall
Additional Online Media:

Gertrude Kasle Gallery records

Creator:
Gertrude Kasle Gallery (Detroit, Mich.)  Search this
Names:
Universal Limited Art Editions (Firm)  Search this
Bontecou, Lee, 1931-  Search this
De Kooning, Willem, 1904-  Search this
Dine, Jim, 1935-  Search this
Frankenthaler, Helen, 1928-2011  Search this
Goodman, Brenda Joyce, 1943-  Search this
Goodnough, Robert, 1917-  Search this
Goodyear, John L., 1930-  Search this
Gottlieb, Adolph, 1903-1974  Search this
Grosman, Tatyana, 1904-1982  Search this
Guston, Philip, 1913-1980  Search this
Hartigan, Grace  Search this
Jenkins, Paul, 1923-2012  Search this
Johnson, Ray, 1927-  Search this
Kasle, Gertrude, 1917-  Search this
Motherwell, Robert  Search this
Natkin, Robert, 1930-  Search this
Nesbitt, Lowell, 1933-1993  Search this
Oldenburg, Claes, 1929-  Search this
Pollock, Charles C.  Search this
Rauschenberg, Robert, 1925-  Search this
Schmidt, Julius, 1923-  Search this
Shapiro, Babe  Search this
Tall, Bill  Search this
Todd, Mike, 1935-  Search this
Tworkov, Jack  Search this
Extent:
8.1 Linear feet
Type:
Archival materials
Collection descriptions
Interviews
Photographs
Sound recordings
Date:
1949-1999
bulk 1964-1983
Summary:
The records of the Gertrude Kasle Gallery of Detroit measure 8.1 linear feet and date from 1949-1999, with the bulk of records dating from 1964-1983. The collection documents the establishment and operations of this contemporary American art gallery and consists of artists files, business and administrative files, exhibition files, photographic materials, and interviews and lectures in the form of sound recordings.
Scope and Content Note:
The records of the Gertrude Kasle Gallery of Detroit measure 8.1 linear feet and date from 1949-1999, with the bulk of the records dating from 1964-1983. The collection documents the establishment and operations of this contemporary American art gallery and consists of artists files, business and administrative files, exhibition files, photographic materials, and interviews and lectures in the form of sound recordings.

The bulk of the records consist of Artists' Files that document the professional and personal relationships Kasle fostered with the artists represented by the gallery, including sales and exhibitions. The files contain a wide variety of materials and the amount of documentation for each artist also varies. Typically the files contain personal and business correspondence, sales documentation, exhibition photographs, photographs of works of art, family photographs, photographs of the artist, exhibition announcements and catalogs, other printed materials, greeting cards, and other documents. Some of the artists well-represented in the files include Lee Bontecou, Wilhem De Kooning, Jim Dine, Helen Frankenthaler, Brenda Goodman, Robert Goodnaugh, John Goodyear, Adolph Gottlieb, Philip Guston, Grace Hartigan, Ray Johnson, Robert Motherwell, Robert Natkin, Lowell Nesbitt, Claes Oldenburg, Charles Pollock, Robert Rauschenberg, Julius Schmidt, Babe Shapiro, Michael Todd, and Jack Tworkov. Additional general information about exhibitions is found in Series 3, Exhibition Files and additional photographs are filed in Series 4, Photographic Material.

Gallery and personal business and administrative files house documents relating to the founding and incorporation of the gallery and general operations, as well as some of Gertrude Kasle personal business files. Also found in this series are files related to fine art prints and the gallery's business relationship with Universal Limited Art Editions.

Scattered exhibition files are found for a few of the gallery's exhibitions and also include general exhibition related files, such as clippings, announcements, guest lists, and schedules. Most of the information about the gallery's exhibitions is found in the Artists Files. Photographs and slides are found throughout the collection, particularly in the Artists Files, but Series 4, Photographic Materials houses an extensive collection of slides documenting art work by artists represented by the gallery. There is also an autographed photograph portrait of Lowell Nesbitt.

Sound recordings are of interviews and lectures. Interviews are with Tatyana Grosman, Lowell Nesbitt, Paul Jenkins, and Bill Tall. There are recorded lectures by Paul Jenkins and Jack Tworkov. The sound recordings are on both audio cassette reel to reel tapes. Transcripts are not available.
Arrangement:
The collection is arranged into 5 series:

Series 1: Artists Files, 1949-1999 (Boxes 1-5, OV 11; 5.1 linear feet)

Series 2: Gallery and Personal Business and Administrative Files, 1961-1995 (Boxes 6-7, OV 12; 1.2 linear feet)

Series 3: Exhibition Files, 1963-1976 (Box 7; 7 folders)

Series 4: Photographic Materials, 1953-1985 (Boxes 7, 10; 18 folders)

Series 5: Sound Recordings, 1966-1971 (Boxes 7-9; 7 folders)
Historical Note:
Gertrude Kasle was born in New York City on December 2, 1917, and began her life-long career in the art world very early, taking art classes in high school and Saturday classes at the Art Students League. She began her formal studies in art education at New York University (NYU) and later transfered to the University of Michigan. Kasle interrupted her studies during World War II to devote herself to family work while her husband served as a military chaplain. The family returned to Detroit in 1947 and she began classes at the Society of Arts and Crafts. After raising her three children, she enrolled in Wayne State University in 1955, completing her degree in 1962.

While a student in Detroit, Kasle was active in the Friends of Modern Art group at the Detroit Institute of Art, and became Vice President. In 1962, she was approached by Detroit businessman Franklin Siden to help him open a gallery where she would have a one-third partnership. During the first year of Siden Gallery's operations, Kasle introduced Detroit to the work of many notable contemporay American artists, such as Larry Rivers, Grace Hartigan, Robert Goodnough, and Robert Natkin.

Her tenure with the Siden Gallery was short-lived and by 1964 she left and began to contemplate her next move. Several of the artists she had represented at Siden Gallery encouraged her to open her own gallery. Local art critic Joy Hakanson Colby who worked for the Detroit News interviewed Kasle and claimed that Kasle was "looking for gallery space". Responding to the article, the Fischer Building offered Kasle a very attractive lease in the "New Center" area of downtown Detroit that would later become known as the city's gallery center, housing several prominent galleries.

With the help of her husband and son, she opened the doors of the Gertrude Kasle Gallery on April 10, 1965. The opening exhibition featured Larry Rivers, Grace Hartigan, Robert Goodnough, Irving Kreisberg, and Manousher Yektai. Kasle's goal was to introduce the city of Detroit to the foremost contemporary artists in the country, some already well-established such as Wilhelm De Kooning, Helen Frankenthaler, Philip Guston, Grace Hartigan, Robert Motherwell, Lowell Nesbitt, Claes Oldenburg, Charles Pollock, Larry Rivers, and Jack Tworkov, as well as others just becoming known, such as Jim Dine. Through group and one-man shows, the Gertrude Kasle Gallery represented contemporary painting, mixed media, and sculpture, focusing primarily on the Abstract Expressionist movement. The gallery also fostered many local Detroit artists, giving them their first shows, including Al Loving and Brenda Goodman.

During her earlier tenure with the Siden Gallery Kasle had worked with Tatyana Grosman of Universal Limited Art Editions which produced original prints of contemporary artists including Jasper Johns, Robert Rauschenberg, and Jim Dine. In her own gallery, Kasle continued her business relationship with Grosman and fine art print publishers, allowing the gallery access to many artists that were previously unattainable.

For eleven years the Gertrude Kasle Gallery operated as a thriving contemporary art gallery, forming the nucleus for the growing Detroit modern and avant garde art scene during the sixties and seventies. Although financially the gallery was not as successful as hoped, it provided a cultural forum for artists and Detroit art enthusiasts to convene, learn, and celebrate. In April, 1976 the gallery closed. When asked why she was closing the gallery, Gertrude Kasle said, "Because the need for a gallery like mine isn't as great as it was in the 1960's. Today the public respects and understands more about creative innovation in contemporary art." (Hakanson Colby, March, 1976) Although the gallery formally closed, Kasle continues to work as a art consultant and live in Detroit.

This historical note relies heavily on the essays written by Gertrude Kasle's son, Stephen available on the Gertrude Kasle Gallery website.
Related Material:
Also available at the Archives of American Art is an oral history interview with Gertrude Kasle conducted by Dennis Barrie on July 24, 1975.
Provenance:
The collection was donated to the Archives of American Art in 1976 and 1982 by Mrs. Gertrude Kasle. A third accession was donated by the Cincinnati Art Museum in 2002.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Gertrude Kasle 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 -- Michigan -- Detroit  Search this
Art, Modern -- 20th century  Search this
Genre/Form:
Interviews
Photographs
Sound recordings
Citation:
The Gertrude Kasle Gallery records, 1949-1999 (bulk 1964-1983). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gertkasl
See more items in:
Gertrude Kasle Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-gertkasl
Additional Online Media:

New York Artists Equity Association records

Creator:
New York Artists Equity Association  Search this
Names:
Art Bank (U.S.)  Search this
Artists Welfare Fund  Search this
Broome Street Gallery  Search this
Avery, Frances  Search this
Babin, Angela  Search this
Berger, Ted  Search this
Bibro, Denise  Search this
Bolotsky, Marvin  Search this
Brodski, Judith  Search this
Carswell, Mary  Search this
Cohen, Jean  Search this
Concholar, Dan, 1939-  Search this
Diener, Bert  Search this
Doug, Ashford  Search this
Facci, Domenico, 1916-1994  Search this
Fiene, Ernest, 1894-  Search this
Frankenthaler, Helen, 1928-2011  Search this
Fuller, Sue (1914-2006)  Search this
Gillespie, Dorothy, 1920-  Search this
Golub, Leon, 1922-2004  Search this
Goulet, Lorrie, 1925-  Search this
Gross, Chaim, 1904-1991  Search this
Gussow, Alan, 1931-  Search this
Gussow, Roy, 1918-2011  Search this
Hall, Nan  Search this
Hasen, Burt  Search this
Hayter, Stanley William, 1901-1988  Search this
Karp, Ivan C., 1926-2012  Search this
Kertess, Klaus  Search this
Knight, Gwendolyn  Search this
Kotik, Charlotte  Search this
Kramer, Hilton  Search this
Kroll, Leon, 1884-1974  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Laufman, Sidney, 1891-  Search this
Lawrence, Jacob, 1917-2000  Search this
Lipsky, Eleanor  Search this
Mandel, Howard, 1917-1999  Search this
Marinoff, Elaine  Search this
Marxer, Donna, 1934-  Search this
Millman, Edward, 1907-1964  Search this
Morris, George L. K., 1905-1975  Search this
Nevelson, Louise, 1899-1988  Search this
Newman, Arnold, 1918-2006  Search this
Newman, Elias, 1903-  Search this
O'Hanlon, Richard E., 1906-1985 (Richard Emmett)  Search this
Phillips, Helen, 1913-  Search this
Phillips, Renée  Search this
Poroner, Palmer  Search this
Reeves, Ruth, 1892-1966  Search this
Refregier, Anton, 1905-  Search this
Rothschild, Lincoln, 1902-  Search this
Sandler, Irving, 1925-  Search this
Searles, Charles Robert, 1937-2004  Search this
Simon, Sidney, 1917-1997  Search this
Sloan, John, 1871-1951  Search this
Smart, Bill  Search this
Smith, David, 1906-1965  Search this
Steinbaum, Bernice  Search this
Stirton, Laura  Search this
Teller, Susan  Search this
Walker, Hudson D. (Hudson Dean), 1907-1976  Search this
Waterson, Harry  Search this
Wayne, June, 1918-2011  Search this
Winters, Denny Sonke, 1907-1985  Search this
Zaleski, Jean  Search this
Zerbe, Karl, 1903-1972  Search this
deLisser, Carolyn  Search this
Extent:
26.8 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Video recordings
Sketches
Scrapbooks
Sound recordings
Date:
1920-2012
Summary:
The records of the New York Artists Equity Association (NYAEA) measure 26.8 linear feet and date from 1920-2012. The records include history and founding documents, presidents' files, board of directors' files that include monthly board meeting minutes, committee files and annual membership meeting minutes, general administrative and correspondence files, financial and legal files, event and program files, artists and subject files, extensive individual membership files, art project and exhibition files, Broome Street Gallery files, NYAEA publications that include issues of The Artists Proof, printed materials, four scrapbooks, sketches created by artists attending a party in honor of Yasuo Kuniyoshi, and photographs of member artists and events.
Scope and Contents:
The records of the New York Artists Equity Association (NYAEA) measure 26.8 linear feet and date from 1920-2012. The records include history and founding documents, presidents' files, board of directors' files that include monthly board meeting minutes, committee files and annual membership meeting minutes, general administrative and correspondence files, financial and legal files, event and program files, artists and subject files, extensive individual membership files, art project and exhibition files, Broome Street Gallery files, NYAEA publications that include issues of The Artists Proof, printed materials, four scrapbooks, sketches created by artists attending a party in honor of Yasuo Kuniyoshi, and photographs of member artists and events. The President's files appear to be complete and include files for presidents Yasuo Kuniyoshi, Louise Nevelson, Harry Waterson, Roy Gussow, Jacob and Gwendolyn Knight Lawrence, Karl Zerbe, Ernst Fiene, Sidney Laufman, Carolyn deLisser, Burt Hasen, and Bert Diener, among others. Committee files and meeting minutes are found, as well as general administrative and correspondence files which include information pertaining to the national level Association.

Event files include documentation of the Association's Art Thursday series, where they hosted talks and panels by artists. Artists referenced in these files include Jean Cohen, Charles Searles, Leon Golub, Doug Ashford, Bruno Palmer-Poroner, Dom Facci, Susan Teller, Eleanor Lipsky, Ted Berger, Hilton Kramer, Bernice Steinbaum, Laura Stirton, Jean Zaleski, Renee Philips, Denise Bibro, Dan Concholar, Irving Sandler, Angela Babin, Dorothy Gillespe, Donna Marxer, Nan Hall, Ivan Karp, Alan Gussow, Mary Carswell, Bill Smart, Charlotte Kotik, Klaus Kertess, Elaine Marinoff, and Judith Brodski. Additional events covered in this series include the annual awards dinner, masquerade balls, lectures, the Association's 55th Anniversary event, which includes recollections by Helen Frankenthaler, Sidney Simon, and Lorrie Goulet, as well as other events and programs. Videocassette and sound recordings of many of the events are found here.

Artists' and subject files contain mostly printed materials about a few artists and subjects or issues in which the Association was interested.

There are extensive files on individual members that include card files, applications, biographies, and clippings.

Project and exhibition files include material pertaining to the Artists Welfare Fund, the Art Bank artwork donation, and a few scattered exhibitions. Additional exhibition and event files are found in the series containing the Broome Street Gallery files.

Association publications consist of what appears to be a full run of Association newsletters and reports. The NYAEA newsletter changed its name to The Artists Proof in 1986. Additional printed materials include exhibition catalogs and announcements, programs, clippings, posters, and newsletters of other arts organizations. There are four scrapbooks (two unbound) that contain printed materials, and a few items of correspondence. One of the scrapbooks documents the annual "Bal Fantastique".

Artwork consists mostly of sketches and drawings by artists attending a 1948 dinner in honor of Yasuo Kuniyoshi. Photographs are of members and events. Photographers include Arnold Newman, Marvin Bolotsky, and Frances Avery, among others. Numerous notable artists are depicted in the images.
Arrangement:
The collection is arranged into sixteen series.

Series 1: History and Founding Documents, 1933-2000 (0.3 linear feet; Box 1, 27

Series 2: Presidents' Files, 1927-2007 (2.8 linear feet; Boxes 1-4)

Series 3: Board of Directors' Files, 1947-2003 (1.4 linear feet; Boxes 4-5)

Series 4: Committee and Meeting Files, 1950-2009 (1.5 linear feet; Boxes 5-6)

Series 5: General Administrative and Correspondence Files, circa 1930-2008 (2 linear feet; Boxes 7-8)

Series 6: Financial and Legal Files, 1947-2000 (1 linear foot; Box 9)

Series 7: Events and Programs, 1930-2010 (4.2 linear feet; Boxes 10-14, 27)

Series 8: Artists and Subject Files, 1930-1998 (0.4 linear feet; Box 14)

Series 9: Membership Files, 1920-2009 (4.4 linear feet; Boxes 14-18, 27)

Series 10: Project and Exhibition Files, 1934-2010 (2 linear feet; Boxes 19-20)

Series 11: Broome Street Gallery Files, 1990-2011 (2.7 linear feet; Boxes 21-23, 31)

Series 12: Association Publications, 1947-2012 (1 linear foot; Boxes 23-24)

Series 13: Printed Materials, 1930-2008 (1.6 linear feet; Boxes 24-25, 27, 31, OV 28, OV 29)

Series 14: Scrapbooks, 1947-1969 (0.3 linear feet; Box 25, OV 30)

Series 15: Artwork, 1947-2000 (0.1 linear foot; Box 26, 27)

Series 16: Photographs, 1930s-2004 (0.9 linear feet; Box 26, 27)
Biographical / Historical:
The New York Artists Equity Association (originally the Artists Equity Association) was created in 1947 to promote and support living American artists. Nine prominent New York artists founded the organization and elected Yasuo Kuniyoshi as the organization's first president. The original membership included 160 well-known American artists, but by the end of its first year, membership had grown to over one thousand. By the 1950s, the organization had grown into an influential national organization. Past and present members have included Milton Avery, Will Barnet, Romare Bearden, George Biddle, Isabel Bishop, Robert Blackburn, Paul Cadmus, Charles Burchfield, Stuart Davis, Jose de Creeft, Elaine and Willem de Kooning, Leon Golub, Chaim Gross, Rockwell Kent, Roy Lichtenstein, Robert Motherwell, Alice Neel, Isamu Noguchi, Jules Olitski, Philip Pearlstein, Henry Varnum Poor, Charles Scheeler, Ben Shahn, David Smith, Frank Stella, Andrew Wyeth, and many others.

In 1959, the New York Chapter, with more members than all of the other states combined, re-organized into the New York Artists Equity Association. The Association maintained it own gallery, Broome Street Gallery, from 1991-2011. The organization remains active today and is located in SoHo.
Provenance:
The records were donated to the Archives of American Art by the New York Artists Equity Association in several increments between 1980-2016.
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 audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The New York Artists Equity Association records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to the public 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 -- Societies, etc. -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Video recordings
Sketches
Scrapbooks
Sound recordings
Citation:
New York Artists Equity Association records, 1920-2012. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nyarteqa
See more items in:
New York Artists Equity Association records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-nyarteqa

André Emmerich Gallery records

Creator:
André Emmerich Gallery  Search this
Names:
Galerie André Emmerich  Search this
Sotheby Parke Bernet & Co.  Search this
Sotheby's (Firm)  Search this
Caro, Anthony, 1924-  Search this
Emmerich, André  Search this
Francis, Sam, 1923-1994  Search this
Frankenthaler, Helen, 1928-2011  Search this
Greenberg, Clement, 1909-1994  Search this
Hockney, David  Search this
Hofmann, Hans, 1880-1966  Search this
Louis, Morris, 1912-1962  Search this
Noland, Kenneth, 1924-2010  Search this
Olitski, Jules, 1922-2007  Search this
Pepper, Beverly  Search this
Extent:
311.4 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Visitors' books
Sound recordings
Video recordings
Scrapbooks
Etchings
Date:
circa 1929-2009
Summary:
The André Emmerich Gallery records and André Emmerich papers measure 311.4 linear feet and date from 1929 to 2009. The collection documents the business of the André Emmerich Gallery as well as André Emmerich's life and activities related to the business of selling art. Gallery records include correspondence; appointment books; administrative and subject files; exhibition files; artist files and accounts; inventory, sales, purchase, and consignment records; chronological files; financial and legal records; printed materials; original artwork; photographic and audiovisual materials. Also found are personal papers and records relating to André Emmerich. TheA small addition received in 2014 includes general correspondence, administrative files, exhibition files, artists' files, inventory records, consignment records, printed material, photographic materials, and André Emmerich personal papers and records.
Scope and Content Note:
The André Emmerich Gallery records and André Emmerich papers measure 311.4 linear feet and date from 1929 to 2009. The collection documents the business of the André Emmerich Gallery as well as André Emmerich's life and activities related to the business of selling art. Gallery records include correspondence; appointment books; administrative and subject files; exhibition files; artist files and accounts; inventory, sales, purchase, and consignment records; chronological files; financial and legal records; printed materials; original artwork; photographic and audiovisual materials. Also found are personal papers and records relating to André Emmerich.

The records document the gallery's daily business operations, exhibitions, and relationships with artists, dealers, clients, galleries, and museums. Artists particularly well-represented throughout the collection include Anthony Caro, Sam Francis, Helen Frankenthaler, David Hockney, Hans Hofmann, Morris Louis, Kenneth Noland, Jules Olitski, and Beverly Pepper.

Records pre-dating the gallery's establishment in 1954 are primarily newspaper and magazine clippings related to artists, personal photographs and photographs of artists, an original etching, and some of André Emmerich's personal records including biographical materials, correspondence, writings, and legal and financial records. Records post-dating the gallery's closure in 1998 are primarily residual business records related to the final disposition of artwork, clippings, photographs of André Emmerich and gallery staff, biographical materials, personal correspondence, writings, legal and financial records, and condolences received by Emmerich's wife upon his death in 2007.

Correspondence is primarily with galleries, museums and clients about business matters. Correspondence files also cover topics such as appraisals, authentications, offers of sale, artists seeking representation, image requests, job applications and recommendations. Also included are the New York gallery's copies of correspondence between the New York staff and the Zurich staff.

André Emmerich's appointment books document appointments, notes, and reminders about Emmerich's business and personal activities. Four appointment books relating to the birth of Emmerich's three sons and second marriage were kept by the family. The appointment books are access restricted and require written permission to use.

Administrative files include corporate records establishing the Andre Emmerich gallery's structure, records documenting the gallery's daily operations, advertising and publicity material, and records about the Sotheby's acquisition. There are also materials related to Top Gallant Farm, from its establishment to its closure. Travel records relate to André Emmerich's business trips and vacations along with some files on the travels of a several staff members at the gallery. Files about the operations of the Galerie André Emmerich in Zurich, Switzerland are included in the series as well.

Subject files relate to Emmerich's gallery business as well as personal and political interests, such as antiquities, art fairs and exhibitions, lecture research, art associations, and sculpture parks. There are several files on the art critic Clement Greenberg and former president of Gay Men's Health Crisis, Nathan Kolodner, who was also an art dealer and director of the Andre Emmerich Gallery.

Exhibition files contain numerous exhibition catalogs and printed materials related to exhibitions held or organized by the André Emmerich Gallery in Manhattan and Galerie André Emmerich in Zurich. The files contain materials ranging such as exhibition invitations, posters, printed materials, press releases, and guest books. Photographs of exhibitions can be found in the Photographic Materials series.

Artist files include biographical materials, clippings, correspondence, mailing lists, price lists, printed materials, and occasionally lectures, writings, and audiovisual materials for many of the artists represented or shown by André Emmerich Gallery. The General Correspondence files might contain duplicates or expanded versions of some of the correspondence. Photographs of artists can be found in the Photographic Materials series.

Artist accounts comprise account statements prepared periodically by the gallery documenting each artist's expenses and sales. Ledgers and general accounting files can be found in the Other Financial and Legal Records series.

Inventory records include inventory cards describing artwork entering and leaving the gallery and files containing various gallery inventories. Artist inventory cards, representing artists from both the New York and Zurich galleries, list the artist, title, date, media and measurements of an artwork. The cards also indicate whether the work was ultimately sold, returned to the artist, consigned, etc., and divided into categories accordingly. Inventory files show various gallery inventories.

Sales records document gallery sales and include paid invoices, records relating to Zurich sales, general sales records such as price lists and canceled sales, and Sotheby's Parke-Bernet auction reports. There are gaps in sales invoices in 1961-1964 and 1969-1971.

Purchase records include correspondence and invoices related to purchases and offers; annotated invoices for works of art bought by the gallery; André Emmerich, Inc. related purchase records; "Non-Modern" art related purchase records.

Consignment records include correspondence and consignment agreements documenting consignments to and from the André Emmerich Gallery; consignments from other galleries to André Emmerich, Inc.; and general consignment records.

Chronological files include copies of invoices or cover letters documenting the movement of artwork into and out of the gallery through sales, consignments, loans, and approvals. Records dating January through August 1968, January through March 1969, and September 1969 through July 1971 are missing.

Financial and legal records include client and partner account statements, resale and exempt organization certificates, accounting ledgers, and legal files related to disputes involving or of interest to the gallery.

Printed materials include auction catalogs and reports, books, and clippings describing André Emmerich, the galleries in New York and Zurich, Top Gallant Farm, and the art world. Also included is a large scrapbook created by the gallery containing clippings and gallery announcements dated 1955-1958. Clippings relating to particular artists can be found in the Artists Files series.

There are two pieces of original artwork in the collection. One is a 1974 print of a 1933 composite etching by Esther Dick Gottlieb, Adolphe Gottlieb, Edgar Levy, Lucille Corcos Levy, David Smith, and Dorothy Dehner Smith. The second is a 1998 lithograph by Louise Bourgeoise, called The Face of the Critic. The artist gave the lithograph as a gift in honor of Robert Hughes and the Archives of American Art and is numbered 61 out of a series of 300.

Photographic materials include prints, slides, negatives, and transparencies. Subjects include artists, André Emmerich, gallery installations, Top Gallant Farm, events, artists' studios, gallery staff, gallery space, and artwork. Photographs which show André Emmerich are indicated as such in the finding aid.

Audiovisual materials includes videocassettes and one audiocassette related to the art world. Videocassettes related to specific artists can be found in the Artists Files series. Videocassettes related to André Emmerich can be found in the André Emmerich Personal Papers and Records series. Videocassettes related to Top Gallant Farm and Sotheby's can be found in the Administrative Files series.

Personal papers and records relating to André Emmerich include biographical materials, personal correspondence, writings and lectures, and legal and financial records. The biographical materials include an address book, interviews and identifying documents. Writings include articles, edits, dissertations, lectures, etc. There are also some miscellaneous correspondence which is organized chronologically.

The small addition received in 2014 includes general correspondence, administrative files, exhibition files, artists' files, inventory records, consignment records, printed material, photographic materials, and André Emmerich personal papers and records.
Arrangement:
The collection is arranged as 19 series:

Series 1: General Correspondence Files, 1958-2006 (boxes 1-18, OV 314-315; 18.2 linear feet)

Series 2: André Emmerich Appointment Books, 1954-2007 (boxes 19, 325, 326; 1.7 linear feet)

Series 3: Administrative Files, 1954-2003 (boxes 20-31, 306, OV 314, OV 316-319; 11 linear feet)

Series 4: Subject Files, 1958-1967, 1971-2000 (boxes 31-32, 306, OV 318, OV 320; 2 linear feet)

Series 5: Exhibition Files, circa 1954-1998 (boxes 32-40, 306, 307, OV 318-322; 8.5 linear feet)

Series 6: Artists Files, 1929-1932, 1938-2007 (boxes 40-68, 307, 308, OV 320-323; 28 linear feet)

Series 7: Artist Accounts, 1958-1998 (boxes 68-81; 13.5 linear feet)

Series 8: Inventory Records, circa 1954-2000(boxes 82-128; 46.5 linear feet)

Series 9: Sales Records, 1959-1998 (boxes 128-168; 40 linear feet)

Series 10: Purchase Records, 1961-1966, 1972-1994 (boxes 168-170; 2 linear feet)

Series 11: Consignment Records, 1961-2002 (boxes 170-177; 7.7 linear feet)

Series 12: Chronological File of Incoming and Outgoing Artwork, 1968-1998 (boxes 178-185; 8 linear feet)

Series 13: Other Financial and Legal Records, 1956-1999 (boxes 186-202; 16.5 linear feet)

Series 14: Printed Materials, 1955-1960, 1965-2008 (boxes 202-204, 308, 309; 3 linear feet)

Series 15: Original Artwork, 1933, 1974, 1998 (box 205, 310; 0.7 linear feet (2 folders))

Series 16: Photographic Materials, circa 1930-1935, 1941-1998, circa 2005 (Boxes 205-296, 311-313, OV 324; 92.8 linear feet)

Series 17: General Audio and Video Recordings, 1985, 1990-1995 (Boxes 297-298; 1.3 linear feet)

Series 18: André Emmerich Personal Papers and Records, 1937-1940, 1946-2008 (Boxes 298-305, OV 321, OV 323; 7.7 linear feet)

Series 19: Addition to the The André Emmerich Gallery records and André Emmerich papers, 1956-2009 (Boxes 328-329, OV 330; 2.1 linear feet)
Historical Note:
André Emmerich (1924-2007) was one of America's most noted contemporary art dealers and opened the André Emmerich Gallery in New York in 1954. The gallery showcased contemporary art, particularly Color Field painting and monumental sculpture.

André Emmerich was born on October 11, 1924 in Frankfurt, Germany. From age 7 he was raised in Amsterdam before emigrating with his family to New York City in 1940. He studied at Oberlin College and developed an interest in pre-Columbian art and antiquities. After graduation, he spent ten years in Paris working as a writer and editor before returning to New York. He married Constance Emmerich and the couple had three sons, Adam, Noah, and Toby.

In 1954 Emmerich opened the André Emmerich Gallery at 18 East 77th Street and initially specialized in contemporary American and European art and pre-Columbian antiquities. In 1956, the gallery moved to 17 East 64th Street, and in 1959 to the Fuller Building at 41 East 57th Street. Emmerich wrote two books about pre-Columbian art, Art Before Columbus in 1963 and Sweat of the Sun, Tears of the Moon: Gold and Silver in Pre-Columbian Art in 1965.

In 1961, Emmerich learned that French and Company, a gallery advised by art critic Clement Greenberg, was closing its department of contemporary art. French and Company had represented Color Field painters Morris Louis, Kenneth Noland, and Jules Olitski. Emmerich immediately invited Louis and Noland to be represented by his gallery. In 1966 he extended the invitation to Olitski as well, and Helen Frankenthaler joined soon after. The gallery's reputation as one of the earliest and most important promoters of Color Field painters was launched.

In addition to Color Field painters, the gallery represented, among others, Pierre Alechinsky, Karel Appel, Milton Avery, Herbert Ferber, Sam Francis, John Graham, Al Held, David Hockney, Hans Hofmann, John Hoyland, Judy Pfaff, Miriam Schapiro, and Anne Truitt.

Until January 1983, sales of pre-Columbian art primarily went through an entity called André Emmerich Inc. (AE Inc.), while sales of contemporary went through the André Emmerich Gallery Inc. (AEG). In 1983, the two entities were merged and operated under the name André Emmerich Gallery Inc.

In 1971, Emmerich began operating a downtown gallery at 420 West Broadway, in SoHo, in space shared with Leo Castelli, Virginia Dwan, and Ileana Sonnabend. In 1972, Emmerich opened a branch of his gallery in Zurich. He incorporated the Galerie André Emmerich Gmbh primarily for the purpose of leasing gallery space in Zurich. Until February 1974, sales of Pre-Columbian art in Zurich were made by an entity called André Emmerich Gallery Inc., New York Filiale Zurich. The Galerie André Emmerich Gmbh was officially liquidated in May 1982. The Filiale was formally closed in October 1996. Galerie André Emmerich also enjoyed a short-lived joint venture with Gimpel & Hanover.

André Emmerich served as president of the Art Dealers Association of America from 1972-1974 and again from 1991-1994.

Emmerich opened a private 150 acre sculpture park, Top Gallant Farm, on his estate in Pawling, New York, in 1982, where he stored and exhibited monumental sculptures by artists his gallery represented including Anthony Caro, Beverly Pepper, Alexander Liberman, Alexander Calder, Mark di Suvero, George Rickey, and Keith Haring. David Hockney painted waves onto floor of the property's swimming pool in 1986. Emmerich operated the sculpture park until 1996.

Emmerich sold his gallery to Sotheby's in 1996. He continued to be affiliated with the gallery until Sotheby's closed the gallery in 1998. Emmerich then began work on his memoir, My Life With Art, excerpts of which have been published in Art News, the Wall Street Journal, and The New Criterion.

Andre Emmerich died in New York 2007 and is survived by his second wife, Susanne Emmerich.
Related Material:
Among the holdings of the Archives of American Art is an oral history interview with André Emmerich conducted by Mona Hadler on January 18, 1993.
Provenance:
The André Emmerich Gallery records and André Emmerich papers were donated to the Archives of American Art by André Emmerich in eight accretions between 1999 and 2002. Two additional accretions were donated by Emmerich's wife Susanne in 2008 and 2009; and by James Yohe, Emmerich's former business partner, in 2009 and 2014.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries required written permission.
Rights:
The André Emmerich Gallery records and André Emmerich 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:
Sculpture, Abstract  Search this
Color-field painting  Search this
Art -- Economic aspects  Search this
Artists' studios -- Photographs  Search this
Art galleries, Commercial -- Switzerland -- Zurich  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Visitors' books
Sound recordings
Video recordings
Scrapbooks
Etchings
Citation:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.andremmg
See more items in:
André Emmerich Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-andremmg
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