Search Results

Maker:

Kom artist  Search this

Medium:

Cotton, dyes

Dimensions:

H x W: 8.9 × 22.2 cm (3 1/2 × 8 3/4 in.)

Type:

Textile and Fiber Arts

Geography:

Laikom, Cameroon

Date:

1973

Topic:

Leadership  Search this

Adornment  Search this

Male use  Search this

male  Search this

Credit Line:

Gift of The Robbins Center for Cross Cultural Communication in memory of Warren M. Robbins

Object number:

2014-32-1.2

Restrictions & Rights:

Usage conditions apply

See more items in:

National Museum of African Art Collection

Data Source:

National Museum of African Art

GUID:

http://n2t.net/ark:/65665/ys7d59fc794-8e6b-42f0-8ceb-4a1d3138ac26

EDAN-URL:

edanmdm:nmafa_2014-32-1.2

Creator:

National Air and Space Museum  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2019-07-26T19:14:37.000Z

YouTube Category:

Education  Search this

Topic:

Aeronautics;Flight;Space Sciences  Search this

See more by:

airandspace

Data Source:

National Air and Space Museum

YouTube Channel:

airandspace

EDAN-URL:

edanmdm:yt_Tht3OEUy6zE

Creator:

Parsons, Betty  Search this

Names:

Betty Parsons Gallery  Search this

Bess, Forrest, 1911-1977  Search this

Congdon, William, 1912-1998  Search this

Pollock, Jackson, 1912-1956  Search this

Reinhardt, Ad, 1913-1967  Search this

Rothko, Mark, 1903-1970  Search this

Extent:

61.1 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Interviews

Video recordings

Drawings

Date:

1916-1991

bulk 1946-1983

Summary:

The Betty Parsons Gallery records and personal papers measure 61.1 linear feet and date from 1916 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons's personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection.

Scope and Content Note:

The Betty Parsons Gallery records and personal papers measure 61.1 linear feet and date from 1916 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons's personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection. Personal papers also include personal photographs.

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

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

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

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

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

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

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

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

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

Pocket diaries and engagement calendars, spanning from 1933-1981, record social engagements, meetings, vacations, and telephone numbers. Also found are circa two linear feet of notebooks and sketchbooks, many of which are annotated with addresses, poetry, journal entries, and other observations of people, places, and travels. Writings by others include writings about Betty Parsons or the Betty Parsons Gallery, such as Lawrence Alloway's unpublished typescript titled "An American Gallery" and other topics.

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

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

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

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

Arrangement:

The collection is arranged as seven series. Many of the series are further divided into subseries.

Missing Title

Series 1: Artists Files, 1935-1983 (19.4 linear feet; Boxes 1-18, 51, 55-56, OVs 53, 65)

Series 2: Exhibition Files, 1941-1983 (2.9 linear feet; Boxes 18-21, 51, 55, OVs 54, 66)

Series 3: Correspondence Files, 1941-1983 (3.9 linear feet; Boxes 21-24, 52, 56)

Series 4: Appraisal Files, 1954-1983 (0.7 linear feet; Box 24)

Series 5: Sales and Inventory Records, 1946-1983 (3.9 linear feet; Boxes 25-28, 51)

Series 6: General Business and Financial Records, 1946-1983 (9.3 linear feet; Boxes 28-38, 51, 56)

Series 7: Betty Parsons Personal Papers, 1916-1991 (21 linear feet; Boxes 38-51, 55-64, OVs 65-67)

Historical Note:

Betty Parsons (1900-1982) was one of the leading art dealers in New York City specializing in modern art, particularly the work of the Abstract Expressionists, and an abstract painter and sculptor in her own right. She opened Betty Parsons Gallery in 1946 at 15 E. 57th St., later moving to 24 W. 57th St.

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

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

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

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

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

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

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

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

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

Parsons frequently claimed that her desire to pursue a career as an artist stemmed from a visit to the Armory Show when she was thirteen. In her late teens, after pressuring her father for art lessons, she studied with the sculptor Gutzon Burglum of Mount Rushmore fame. In Paris, she continued her studies first with Antoine Bourdelle, whose sculptures she had admired at the Armory Show, and later with Ossip Zadkine. The first exhibition of her work, figurative watercolors and sculptures, took place in Paris in 1927. As she matured as an artist, her art became more abstract. Her late works were painted wood sculptures that she pieced together from wood that she found near her studio in Long Island. Parsons's work was exhibited in more than thirty solo exhibitions, including, Betty Parsons; Paintings, Gouaches and Sculpture, 1955-1968, at the Whitechapel Gallery in London. During her lifetime, she would not allow her works to be shown in her own gallery. Shortly after she died of a stroke in 1982, In Memoriam, Betty Parsons: Late Sculptures, opened at the Betty Parsons Gallery.

Related Material:

Also found in the Archives of American Art are oral history interviews with Betty Parsons, June 4-9, 1969, by Paul Cummings, and June 11, 1981 by Gerald Silk.

Separated Material:

Some of the material originally loaned for microfilming in 1968 and 1969 was not included in later donations and can be viewed on microfilm reels N68/62-N68/74 and N69/105-N69/106. Loaned materials are not described in the container listing in this finding aid.

Provenance:

The gallery donated some records in 1974, many of which had been loaned earlier for microfilming. The bulk of the collection was donated in 1984 and 1986 by William Rayner and Christopher Schwabacher, executors of the Estate of Betty Parsons. Additional material was donated by William Rayner in 1998 and Christopher Schwabacher in 2017. Additional material was donated in 2018 by the Lee Hall estate via Carolyn Crozier and Deborah Jacobson, co-executors. Hall was Parsons's biographer and had the material in her possession at the time of Parsons's death. An additional photograph of Parons and Marie Carr Taylor by Henri Cartier-Bresson was donated in 2021 by Mary Carpenter, who inherited the photograph from her mother, Nan Thorton Jones, who received it as a gift from Taylor.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Gallery owners -- New York (State) -- New York  Search this

Art dealers -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Sculptors -- New York (State) -- New York  Search this

Topic:

Women art dealers  Search this

Women artists  Search this

Abstract expressionist  Search this

Genre/Form:

Sketchbooks

Interviews

Video recordings

Drawings

Citation:

Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and The Walton Family Foundation.

Identifier:

AAA.parsbett

See more items in:

Betty Parsons Gallery records and personal papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw956c1036f-b673-4dc1-8c1b-cde0bd641c60

EDAN-URL:

ead_collection:sova-aaa-parsbett

Collection Creator:

Parsons, Betty  Search this

Type:

Archival materials

Date:

1922-1983

Scope and Contents note:

Series consists of Parsons's incoming and outgoing correspondence originally maintained within her personal papers, although it appears to be a mixture of personal and professional correspondence. It includes not only letters from friends and family, but also from museum directors, art dealers, researchers, gallery artists, and artists seeking representation from the Betty Parsons Gallery. General correspondence primarily consists of personal letters from friends, while chronological correspondence includes primarily business-related letters. No attempt was made to reconcile the two systems since this arrangement may have originated with the creator.

Arrangement note:

Correspondence is arranged into three sub-subseries:

7.3.1: General Correspondence, 1922-1983

7.3.2: Chronological Correspondence, circa 1938-1983

7.3.3. Travel Correspondence and Documentation, 1933, 1957-1981

Series Restrictions:

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and The Walton Family Foundation.

Identifier:

AAA.parsbett, Subseries 7.3

See more items in:

Betty Parsons Gallery records and personal papers

Betty Parsons Gallery records and personal papers / Series 7: Betty Parsons Personal Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw929e97406-eabd-4889-b478-1edfdae4f1f0

EDAN-URL:

ead_component:sova-aaa-parsbett-ref1516

Collection Creator:

Parsons, Betty  Search this

Type:

Archival materials

Date:

circa 1938-1983

Scope and Contents note:

These files reflect how deeply Parsons's life was intertwined with the gallery as correspondence with dealers, museum directors, researchers, collectors, arts organizations, gallery staff, and artists predominate in this subseries, although letters from friends are scattered throughout. Letters address a variety of topics including requests for Parsons to be a jurist for juried exhibitions, exhibitions and sales of her own art work, references for artists, requests for interviews, questions from researchers, and communications from gallery staff. Letters from Jock Truman, include his original cover letter (1961) and updates concerning gallery business (1964, 1966-1968, and 1972).

Letters from Parsons include a letter of introduction for her former husband Schuyler Parsons to Peggy Guggenheim (1965) and a suggestion to collector Paul Mellon (1976) that Barnett Newman's Stations of the Cross belongs in the National Gallery of Art, Washington, D.C.. Parsons response to a researcher (1979) provides her insights concerning the early history of the gallery and her connection with the Abstract Expressionists. Other significant correspondents include Ossip Zadkine (1956), Jacqueline Monnier (1978 and 1982), and Judith Rothschild (1980). Finally, letters that post-date Parsons death in July, 1982 include condolence letters to gallery staff and correspondence between Jack Tilton, her former assistant at the gallery and William Rayner, her nephew and the executer of her estate, to establish prices for her art work.

Arrangement:

Files are arranged chronologically by year with undated correspondence at the end of the series.

Series Restrictions:

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and The Walton Family Foundation.

Identifier:

AAA.parsbett, Subseries 7.3.2

See more items in:

Betty Parsons Gallery records and personal papers

Betty Parsons Gallery records and personal papers / Series 7: Betty Parsons Personal Papers / 7.3: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f9e9bf12-a50d-4533-ac4d-f04565771469

EDAN-URL:

ead_component:sova-aaa-parsbett-ref1587

Collection Creator:

Henri Gallery (Washington, D.C.)  Search this

Container:

Box 52, Folder 31

Type:

Archival materials

Date:

circa 1990

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Henri Gallery records, circa early 1900s, 1940-1996, bulk 1957-1995. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care Preservation Fund.

See more items in:

Henri Gallery records

Henri Gallery records / Series 2: Alphabetical Files / 2.2: Subject Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96ab2ca8d-397b-49e6-aadc-c3e6e483fa3b

EDAN-URL:

ead_component:sova-aaa-henrgall-ref1194

Creator:

Moffett, Kenworth W., 1943-  Search this

Citation:

Kenworth Moffett papers, circa 1959-1988. Archives of American Art, Smithsonian Institution.

Theme:

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)6403

(DSI-AAA_SIRISBib)215375

AAA_collcode_moffkenw

Theme:

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_215375

Creator:

Moffett, Kenworth  Search this

Extent:

0.6 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1959-1988

Scope and Contents:

The papers of Kenworth Moffett measure 0.6 linear feet and date from circa 1959 to 1988. The papers document Moffett's career as a critic and curator through correspondence, slides and photographs of works of art by artists who were subjects of Moffet's research, notes, teaching material from his time at Wellesley College, and unpublished papers written by colleagues and students.

Biographical / Historical:

Kenworth Moffett (1934-2016) was an art critic, curator, and art museum director in Massachusetts and Fort Lauderdale, Florida.

Moffett studied art history at Columbia University and earned a PhD from Harvard University in 1968. A champion of Color Field painting, he wrote critical essays and reviews for major art periodicals including Artforum and Art International throughout the late 1960s to 1970s.

From 1968 to 1979, Moffett was a professor of art history at Wellesley College. In 1971, he was made founding curator of twentieth-century art at the Boston Museum of Fine Arts, where he organized exhibitions of sculptor Anthony Caro and painters Jules Olitski, Barnet Newman, and Friedel Dzubas. He also curated the first museum exhibition of realist Albert York. In 1989, Moffett was appointed director of the Museum of Art Fort Lauderdale, where he remained until 1997. Moffett died in 2016.

Provenance:

Donated by Lucy Baker, former wife of Kenworth Moffett, 1993.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Occupation:

Art museum curators -- Massachusetts  Search this

Art museum directors -- Florida -- Fort Lauderdale  Search this

Art critics -- Massachusetts  Search this

Identifier:

AAA.moffkenw

See more items in:

Kenworth Moffett papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96e882743-58c1-44a8-8324-c4fad2669ed7

EDAN-URL:

ead_collection:sova-aaa-moffkenw

Creator:

MacCameron, Robert Lee, 1866-1912  Search this

Names:

Rodin, Auguste, 1840-1917  Search this

Extent:

0.4 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1896-1913

Summary:

The papers of painter Robert Lee MacCameron measure 0.4 linear feet and date from 1896 to 1913. The papers document MacCameron's career as a painter through correspondence and writings.

Scope and Contents:

The papers of painter Robert Lee MacCameron measure 0.4 linear feet and date from 1896 to 1913. The papers document MacCameron's career as a painter through correspondence and writings.

Correspondence consists primarily of letters with clients concerning portrait commissions and letters from museum directors and curators. Also included are three letters from artist Charles Dana Gibson, letters from MacCameron to his wife Louise, and drafts of other letters.

MacCameron's writings include two journals, writings by MacCameron on religion and photography, and typescripts of writings on Rodin and other subjects.

Arrangement:

The collection is arranged into two series.

Series 1: Correspondence, 1897-1913 (0.2 linear feet; Box 1)

Series 2: Writings, 1896-1912 (0.2 linear feet; Box 1)

Biographical / Historical:

Chicago-born, New York City based painter Robert Lee MacCameron (1866-1912) was a sought after portrait artist who received commissions from Presidents McKinley and Taft, Auguste Rodin, and many others.

MacCameron began his artistic career as an illustrator in Chicago. Encouraged to pursue art he moved to New York City and then studied in Paris with Jean-Leon Gerome and James Abbott McNeill Whistler at the Ecole des Beaux-Arts. By 1912 he had returned to New York City and focused primarily on society portraits of the upper class.

Provenance:

Donated 2004 by Robert MacCameron, the grandson of Robert Lee MacCameron.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- New York (State) -- New York  Search this

Citation:

Robert Lee MacCameron papers, 1896-1913. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.maccrobe

See more items in:

Robert Lee MacCameron papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94be09284-6200-4bdd-9810-6555e7b67328

EDAN-URL:

ead_collection:sova-aaa-maccrobe

Collection Creator:

MacCameron, Robert Lee, 1866-1912  Search this

Extent:

0.2 Linear feet (Box 1)

Type:

Archival materials

Date:

1897-1913

Scope and Contents:

Correspondence consists of letters with clients John W. Harrop, Robert L. Gerry, Cornelia H. Gerry, Robert Goelet, the Duchess of Rutland, Nina Eustis, and others concerning portrait commissions; and letters from museum directors and curators John W. Beatty (Carnegie Institute), R. A. Holland (City Art Museum, St. Louis), and E. Rimbault Dibdin (Walker Art Gallery, Liverpool), and others. Also included are three letters from artist Charles Dana Gibson; letters from MacCameron to his wife Louise; drafts of letters to the Duchess of Rutland, John Astor, Mrs. Benjamin Guinness, and Henry Clews, Jr. incorporating his account of his visit to Rodin's museum at Meudon in June 1909; and a carbon copy of MacCameron's 1910 letter of introduction, in French.

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Robert Lee MacCameron papers, 1896-1913. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.maccrobe, Series 1

See more items in:

Robert Lee MacCameron papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99c66e1a6-5b6a-4d09-b605-0c549d70e41a

EDAN-URL:

ead_component:sova-aaa-maccrobe-ref3

Names:

Carver Theater (Washington, DC)  Search this

Southeast Neighborhood House (Washington, D.C.)  Search this

Youth Advisory Council (Anacostia Museum)  Search this

Ripley, S. Dillon (Sidney Dillon), 1913-2001  Search this

Collection Creator:

Anacostia Community Museum  Search this

Extent:

1 Sound cassette

Type:

Archival materials

Sound cassettes

Oral histories (document genres)

Place:

Anacostia (Washington, D.C.)

Date:

1991 June 15

Scope and Contents note:

Marjorie Kinard talks about the founding of the Anacostia Neighborhood Museum (now Anacostia Community Museum) and what it was like to be married to its founding director, John Kinard. She describes the difficult environment in Washington DC as the museum was being developed because there was upheaval after a riot in Anacostia that year. She recalls the hope that the museum would serve as a place for the community to learn about their own neighborhood and become more aware of the Smithsonian Institution. She describes the challenges John Kinard faced within the community, like winning the faith and trust of the "silent infrastructure" and "silent leadership" among the residents. She talks about how the museum gave the community the opportunity to see themselves in a positive light, and how the exhibits were interactive, engaging, and targeted local issues. She states that the museum offered educational programming like sculpting, macrame, pottery, and drama. She describes the museum's relationship with the Smithsonian Institution as supportive, but she mentions some of the racism her husband managed like a lack of promotional opportunities for African Americans. She describes her husband as the first African American museum director in the country. She expresses her concern that contemporary African Americans may take for granted the opportunities they have within the Smithsonian Institution, recalling that there were not always executive roles, or even internships. She describes her husband as a fighter and innovator and feels that the museum's programs helped African Americans become interested in museology and created opportunities for them to work within the Smithsonian. She also talks about how the museum evolved from a little community museum for children and residents to a more global concept with exhibits that addressed a wider audience, like Black Women: Achievements Against the Odds, and Out of Africa, which focused on African American heritage and history. The interview was recorded on June 15, 1991. The audio quality is clear throughout the recording.

Exhibition mentioned: The Rat: Man's Invited Affliction.

Biographical / Historical:

Marjorie Kinard held a Bachelor of Arts from Livingstone College, and a Master's Degree from the University of the District of Columbia. She served as an educator for District of Columbia public schools, Director of public relations for Barber-Scotia College in Concord, and as Director of the Shiloh Baptist Church Child Development Center in Washington DC. She was a prominent community activist, fundraiser, and popular speaker. She was a member of the National Council of Negro Women, the Livingstone College National Alumni Association, the National Association of the Education of Young Children, the Washington Association of Child Care Centers, and Delta Sigma Theta Sorority, Inc. She also moderated the weekly radio show "Health Talk" on WYCB. She was married to John Kinard, the founding Director of the Anacostia Community Museum. 

Provenance:

Conducted as part of the ACM 25th Anniversary Oral History Project, which includes approximately 100 interviews of residents and influential people of the Anacostia area of Washington, DC.

Restrictions:

Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.

Genre/Form:

Oral histories (document genres)

Collection Citation:

ACM 25th Anniversary Oral History Project, Anacostia Community Museum Archives, Smithsonian Institution

Identifier:

ACMA.09-034, Item AV001642

See more items in:

ACM 25th Anniversary Oral History Project

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa7e1319c49-6821-420d-a125-3e65fd63b57b

EDAN-URL:

ead_component:sova-acma-09-034-ref281

Creator:

Garbe, Walter  Search this

Extent:

20 Photographic prints

19 Copy negatives

1 Lantern slide

Culture:

Aimoré (Aymore, Aimboré)  Search this

Type:

Collection descriptions

Archival materials

Photographic prints

Copy negatives

Lantern slides

Place:

Brazil

Santa Leopoldina (Brazil)

Espírito Santo (Brazil : State)

Minas Gerais (Brazil)

Date:

1909

Summary:

This collection includes photographic prints, copy negatives, and one lantern slide made by Walter Garbe in 1909 among the Aimoré (Aymore, Aimboré) communities in the Doce River region of Espírito Santo and Minas Gerais, Brazil.

Scope and Contents:

Photographic prints include P00622-P00641. Copy negatives include N11683, N13496, N34443-N34459. The copy negatives are copies of photographic prints from the Museum of the American Indian, Heye Foundation (NMAI's predecessor museum). Lantern slides include L00081.

The photos produced in Espírito Santo were likely staged by Garbe, although do depict tasks that would've been part of daily routines, such as hunting and making fire.

Arrangement:

Arranged by catalog number.

Biographical / Historical:

Walter Garbe, born circa 1882, was a German photographer who lived and worked in Brazil. He was the son of Ernest (Ernesto) Garbe (1853-1925), a German naturalist who worked for the Museu Paulista in São Paulo, Brazil from 1902 until his death in 1925. In 1906, Walter accompanied his father on an expedition to the region surrounding the Doce River. They began the journey at the Doce River's intersection with the border of Minas Gerais, followed it to Linhares, and then went on to Lagoa Juparanã. While the aims of this first expedition were exploration and collecting zoological specimen, Walter Garbe soon returned to the Doce River on his own. In 1909, he made multiple excursions to this region to take ethnographic photos and notes documenting the Aimoré (Aymore, Aimboré) communities in Espírito Santo and Minas Gerais. Garbe recorded information about the varying customs, clothing, food, and daily activities of these communities. Garbe also acquired several objects from the Aimoré, including flutes, weapons, and jewelry, to give to the Paulista Museum. In 1911, this collection of photographs was published with commentary in the Paulista Museum's magazine. The article, "Os botocudos do Rio Doce," was written by the Paulista Museum's director Herman von Ihering.

By the 1920s, Walter Garbe had become an established photographer. While Garbe was living in Santa Leopoldina in 1922, the city hired him to create cinematographic film of its waterfalls, rivers, city life, commercial endeavors (such as its transportation of coffee), and festivals. In 1923, Garbe continued to work as a photographer in Espírito Santo for the Secretary of Agriculture. From October 1932 to April 1933, Garbe joined Carlos Camargo and Olivério Pinto in an expedition to collect birds from Bahia and Madre de Deus. From 1928 to 1937, Garbe worked and possibly lived in São Paulo.

For more information on Walter Garbe, see "Os índios sob as lentes de Walter Garbe, em 1909" on Brasiliana Fotografica.

Related Materials:

Additional photographs from this collection (including uncropped versions) exist online at Brasiliana Fotografica, Biblioteca Nacional (Brasil) under "Índios Botocudos."

Provenance:

Accession information currently unknown.

Restrictions:

Photographic prints P00626 and P00628 (and corresponding copy negatives N34447 and N34448) are restricted due to sensitive content.

Rights:

Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.

Citation:

Identification of specific item; 1909; Walter Garbe photographs from Brazil, image #, NMAI.AC.137; National Museum of the American Indian Archives Center, Smithsonian Institution.

Identifier:

NMAI.AC.137

See more items in:

Walter Garbe photographs from Brazil

Archival Repository:

National Museum of the American Indian

GUID:

https://n2t.net/ark:/65665/sv4fcd480f8-eaeb-4b65-9eec-2285f77faac2

EDAN-URL:

ead_collection:sova-nmai-ac-137

Collection Creator:

National Air and Space Museum. Archives Division.  Search this

Type:

Archival materials

Scope and Contents:

16 x 20 inch black and white photograph by Carolyn Russo (NASM photographer): left side view from above of Lockheed SR-71 on its arrival at Dulles International Airport for presentation to NASM, Museum Director Martin Harwit at podium.

Collection Restrictions:

The majority of the Archives Department's public reference requests can be answered using material in these files, which may be accessed through the Reading Room at the Steven F. Udvar-Hazy Center in Chantilly, Virginia. More specific information can be requested by contacting the Archives Research Request.

Identifier:

NASM.XXXX.1183.C, File CH-204000-OS

See more items in:

National Air and Space Museum Technical Reference Files: Biographies

National Air and Space Museum Technical Reference Files: Biographies / Series C: Biographies: Individuals / Biographies H / Harwit, Martin O.

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg23d99be33-d942-493d-88f6-5eb7629aedb8

EDAN-URL:

ead_component:sova-nasm-xxxx-1183-c-ref32099

Artist:

Manuel Alvarez Bravo, 4 Feb 1902 - 19 Oct 2002  Search this

Sitter:

René D'Harnoncourt, 17 May 1901 - 13 Aug 1968  Search this

Medium:

Gelatin silver print

Dimensions:

Image: 24 × 18.5 cm (9 7/16 × 7 5/16")

Sheet: 25.4 × 20.2 cm (10 × 7 15/16")

Mat: 45.7 × 35.6 cm (18 × 14")

Type:

Photograph

Date:

c. 1930

Topic:

Home Furnishings\Furniture\Seating\Chair  Search this

Costume\Jewelry\Ring  Search this

Costume\Dress Accessory\Eyeglasses\Monocle  Search this

René D'Harnoncourt: Male  Search this

René D'Harnoncourt: Visual Arts\Visual arts administrator\Art museum administrator\Art museum director  Search this

René D'Harnoncourt: Rulers and Aristocracy\Aristocrat\Count  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.92.53

Restrictions & Rights:

Usage conditions apply

Copyright:

© Manuel Alvarez Bravo

See more items in:

National Portrait Gallery Collection

Exhibition:

20th Century Americans: 1900-1930 (re-installation 2012)

On View:

NPG, South Gallery 322

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm47e65d6be-363d-4fae-bdfe-78464231a84f

EDAN-URL:

edanmdm:npg_NPG.92.53

Creator:

Neumann, J. B. (Jsrael Ber)  Search this

Subject:

Beckmann, Max  Search this

Baskin, Leonard  Search this

Albers, Josef  Search this

Rattner, Abraham  Search this

Namuth, Hans  Search this

Morrison, Helen Balfour  Search this

Kandinsky, Wassily  Search this

White, Clarence H.  Search this

Schmid, Elsa  Search this

Artlover  Search this

Gehenna Press  Search this

New Art Circle  Search this

Type:

Drawings

Photographs

Scrapbooks

Etchings

Citation:

J. B. Neumann papers, 1905-1967. Archives of American Art, Smithsonian Institution.

Topic:

Art, Modern -- 20th century -- United States -- History  Search this

Art -- Periodicals  Search this

Theme:

Art Market  Search this

Record number:

(DSI-AAA_CollID)9191

(DSI-AAA_SIRISBib)211386

AAA_collcode_neumjsra

Theme:

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211386

Collection Creator:

Lippard, Lucy R.  Search this

Container:

Box 45, Folder 32

Type:

Archival materials

Date:

1970s

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

See more items in:

Lucy R. Lippard papers

Lucy R. Lippard papers / Series 5: Exhibitions

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92771b8dc-725a-4183-8d66-be920df6b19e

EDAN-URL:

ead_component:sova-aaa-lipplucy-ref959

Creator:

Neumann, J. B. (Jsrael Ber)  Search this

Names:

Artlover  Search this

Gehenna Press  Search this

New Art Circle  Search this

Albers, Josef  Search this

Baskin, Leonard, 1922-2000  Search this

Beckmann, Max, 1884-1950  Search this

Kandinsky, Wassily, 1866-1944  Search this

Morrison, Helen Balfour, 1901-1984  Search this

Namuth, Hans  Search this

Rattner, Abraham  Search this

Schmid, Elsa, 1897-  Search this

Photographer:

White, Clarence H., 1871-1925  Search this

Extent:

2.1 Linear feet (4 boxes)

Type:

Collection descriptions

Archival materials

Drawings

Photographs

Scrapbooks

Etchings

Date:

1905-1967

Summary:

The papers of gallery director, art dealer and publisher Jsrael Ber Neumann (1887-1961) measure 2.1 linear feet and date from 1905 to 1967. The papers document Neumann's career as the director of galleries in Berlin and Munich, Germany (1910-1924) as well as the New Art Circle gallery in New York City (1924-1952). Neumann was a respected art dealer, publisher of Artlover periodical, founder of Gehenna Press, and frequent lecturer. Found within his papers are correspondence with artists and museums, writings, printed materials mostly comprised of exhibition catalogues, artwork, and photographic materials.

Scope and Contents:

The papers of gallery director, art dealer and publisher Jsrael Ber Neumann (1887-1961) measure 2.1 linear feet and date from 1905 to 1967. The papers document Neumann's career as the director of galleries in Berlin and Munich, Germany (1910-1924) as well as the New Art Circle gallery in New York City (1924-1952). Neumann was a respected art dealer, publisher of Artlover periodical, founder of Gehenna Press, and frequent lecturer. Found within his papers are correspondence with artists and museums, writings, printed materials mostly comprised of exhibition catalogues, artwork, and photographic materials.

Correspondence is between Neumann and friends, colleagues, and museums. There is also correspondence with notable artists, including Josef Albers, Leonard Baskin, Max Beckmann, Wassily Kandinsky, and Abraham Rattner, among others. There are also condolence letters from friends and colleagues to Elsa Schmid, Neumann's wife.

Scattered writings consist of typescript drafts of Neumann's speeches and one article on expressionism. There is also one speech written by curator Richard Klein.

Printed materials comprise the bulk of the collection and include a bound gallery guest register, a disbound scrapbook, exhibition catalogs and announcements, brochures, magazines, posters, and news clippings. There are many exhibition catalogs from Neumann's galleries in Berlin and Munich as well as from the New Art Circle gallery in New York. Artwork consists of two etchings and one drawing by an unknown artist or artists.

Photographic materials include black and white photographs and negatives, including notable portraits of Neumann by photographers Helen Balfour Morrison, Clarence White, and Hans Namuth.

Arrangement:

This collection is arranged as 5 series.

Missing Title

Series 1: Correspondence, 1925-1961 (0.2 linear feet; Box 1)

Series 2: Writings, 1919, 1954-circa 1960 (5 folders; Box 1)

Series 3: Printed Materials, 1910-1967 (1.7 linear feet; Box 1-4)

Series 4: Artwork, 1919-circa 1960 (3 folders; Box 3-4)

Series 5: Photographic Materials, 1905-circa 1950 (0.2 linear feet; Box 3-4)

Biographical / Historical:

J. B. (Jsrael Ber) Neumann (1887-1961) was a gallery director, art dealer and publisher. After immigrating to the U.S., Neumann founded the New Art Circle Gallery in New York City. Before then, he had art galleries in Berlin, Munich, Dusseldorf and Bremen, Germany.

J. B. Neumann was born in Austria in 1887. His father was an oil and lumber dealer. Neumann initially studied business but later apprenticed to a book and picture dealer when he was nineteen. While working as a clerk in a large bookstore in London, Neumann had the opportunity to work at the rare book dealer's table in the British Museum. The job allowed him to assess and handle fine and rare books, starting a lifelong passion, and Neumann went on to amass a substantial personal library.

In 1910, Neumann returned to Berlin, Germany and in 1911 opened a book and art shop where he exhibited the work of Edvard Munch and others. Neumann had many friends who were artists and in 1915-1916 he was secretary to the Berlin Secession, a prominent German artist association. By 1922 Neumann had branch offices in Bremen, Dusseldorf and Munich.

Neumann immigrated to America in 1923 and left the Berlin gallery to the directorship of Karl Nierendorf and the Munich gallery to Günther Franke. Neumann settled in New York City and one year later he opened a 57th Street gallery and bookshop, first called J.B. Neumann's Print Room and later the New Art Circle gallery. He supported numerous artists, including Wassily Kandinsky, Max Beckmann, Paul Klee, and Georges Rouault. Elsa Schmid, Neumann's wife, was an artist who worked in mosaics.

Neumann also worked as a publisher. He created the printing company Gehenna Press and published a series of periodicals including Bilderhefte (Berlin, 1920-1922) and Artlover (New York, 1926-1945, 1959). The New Art Circle gallery closed circa 1952 and, after working as its director for nearly three decades, Neumann became a consultant for museums and collectors. He was also a lecturer and he frequently spoke about art at universities, museums and galleries.

Neumann died in Rye, New York on April 28, 1961. He is survived by his widow, Elsa Schmid (d. 1970); two sons, Peter and Albrecht; and a daughter, Mrs. Johanna Lam.

Related Materials:

The Archives of American Art also holds a collection of Josef Albers letters to J. B. Neumann, 1934-1947 on microfilm reel 911.

Additional J.B. Neumann papers are also located at the Museum of Modern Art in New York. The museum microfilmed a portion of these papers and donated a copy of that film to the Archives. This material may be viewed on reel NJBN5 at Archives of American Art offices, affliate centers, and via interlibrary loan.

Separated Materials:

Also available at the Archives of American Art are materials lent for microfilming (reels NJBN-1- NJBN-5) including correspondence with numerous artists, art critics, museum directors and others. The materials on reel NJBN-1- NJBN-4 were returned to Neumann's wife, Elsa Schmid and the original material on reel NJBN-5 is located at The Museum of Modern Art in New York, NY. Loaned material is not described in the collection container inventory.

Provenance:

Neuman's wife, Elsa Schmid and The Museum of Modern Art lent the Archives of American Art material for microfilming in 1966-1967. The rest of the J.B. Neumann papers were donated in several installments between 1973-2007 by Eva Lee (family friend), Joy Weber, Max Weber's daughter, Neil Richmond, and Hellie Neumann, J.B. Neumann's granddaughter.

Restrictions:

Use of original papers requires an appointment.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Gallery directors -- New York (State) -- New York  Search this

Art directors -- New York (State) -- New York  Search this

Publishers -- New York (State) -- New York  Search this

Topic:

Art, Modern -- 20th century -- United States -- History  Search this

Art -- Periodicals  Search this

Genre/Form:

Drawings

Photographs

Scrapbooks

Etchings

Citation:

J. B. Neumann papers, 1905-1967. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Samuel H. Kress Foundation

Identifier:

AAA.neumjsra

See more items in:

J. B. Neumann papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a841e037-5cca-486a-a45e-bb0239fc0adb

EDAN-URL:

ead_collection:sova-aaa-neumjsra

Associated Person:

Oscar M. Holm  Search this

Medium:

paper; ink

Dimensions:

Height x Width: 3 x 10 3/4 in. (7.6 x 27.3 cm)

Type:

Postal Money

Place:

United States of America

Date:

1943

Topic:

World War II (1939-1945)  Search this

Customers & Commerce  Search this

Object number:

2000.2006.1

See more items in:

National Postal Museum Collection

Data Source:

National Postal Museum

GUID:

http://n2t.net/ark:/65665/hm85bd734a9-0c58-459a-8da4-376d9c3df0a8

EDAN-URL:

edanmdm:npm_2000.2006.1

Artist:

Burton Philip Silverman, born 11 Jun 1928  Search this

Sitter:

Thomas Hoving, 15 Jan 1931 - 10 Dec 2009  Search this

Medium:

Charcoal on paper

Dimensions:

Sheet: 31.6 x 24.6 cm (12 7/16 x 9 11/16")

Type:

Drawing

Date:

1967

Topic:

Interior  Search this

Thomas Hoving: Male  Search this

Thomas Hoving: Literature\Writer  Search this

Thomas Hoving: Journalism and Media\Editor  Search this

Thomas Hoving: Visual Arts\Curator  Search this

Thomas Hoving: Visual Arts\Visual arts administrator\Art museum administrator\Art museum director  Search this

Thomas Hoving: Literature\Writer\Art writer  Search this

Thomas Hoving: Journalism and Media\Journalist\Correspondent  Search this

Thomas Hoving: Politics and Government\Government official\Commissioner  Search this

Thomas Hoving: Military and Intelligence\Marine Corps  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; purchased with funds provided by the Robert Lehman Foundation, Inc.

Object number:

NPG.2000.30

Restrictions & Rights:

Usage conditions apply

Copyright:

© Burton Philip Silverman/ Artists Rights Society (ARS), New York

See more items in:

National Portrait Gallery Collection

Location:

Currently not on view

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4124e2c95-3c94-493c-8835-c90a4a1194d1

EDAN-URL:

edanmdm:npg_NPG.2000.30

Artist:

Adolf Arthur Dehn, 22 Nov 1895 - 1968  Search this

Sitter:

Alfred Hamilton Barr, Jr., 1902 - 1981  Search this

Dorothy C. Miller, 6 Feb 1904 - 11 Jul 2003  Search this

Medium:

Lithograph, hand-colored (watercolor)

Dimensions:

Sheet: 47.3 x 59cm (18 5/8 x 23 1/4")

Type:

Print

Place:

United States\New York\Kings\New York

Date:

1940

Topic:

Artwork  Search this

Caricature  Search this

Interior\Museum  Search this

Alfred Hamilton Barr, Jr.: Male  Search this

Alfred Hamilton Barr, Jr.: Visual Arts\Art historian  Search this

Alfred Hamilton Barr, Jr.: Visual Arts\Visual arts administrator\Art museum administrator\Art museum director  Search this

Alfred Hamilton Barr, Jr.: Literature\Writer\Art writer  Search this

Alfred Hamilton Barr, Jr.: Education and Scholarship\Educator\Professor\Art History  Search this

Dorothy C. Miller: Female  Search this

Dorothy C. Miller: Visual Arts\Curator  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.2002.81

Restrictions & Rights:

Usage conditions apply

Copyright:

© Adolf and Virginia Dehn Foundation

See more items in:

National Portrait Gallery Collection

Location:

Currently not on view

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm48d94f568-d624-46ee-a3e3-965a3d062aad

EDAN-URL:

edanmdm:npg_NPG.2002.81