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David Smith to Sheila Hori.

Creator:
Smith, David, 1906-1965  Search this
Hori, Sheila  Search this
Type:
Correspondence
Date:
1956 Mar. 12
Record number:
(DSI-AAA)6324
See more items in:
Exhibition Momentum records, 1948-1964
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_6324

David Smith letter to Elizabeth McCausland

Creator:
Smith, David, 1906-1965  Search this
McCausland, Elizabeth, 1899-1965  Search this
Subject:
Smith, David  Search this
Type:
Correspondence
Date:
1940 September 22
Topic:
Sculpture  Search this
Record number:
(DSI-AAA)16578
See more items in:
Elizabeth McCausland papers, 1838-1995, bulk 1920-1960
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_16578
Additional Online Media:

Letter from Samuel Wagstaff to David Smith with reply from David Smith

Creator:
Wagstaff, Samuel J., 1921-1987  Search this
Smith, David, 1906-1965  Search this
Subject:
Boston City Hall  Search this
Type:
Correspondence
Date:
1964 Mar. 26
Topic:
Museum administration  Search this
Record number:
(DSI-AAA)9059
See more items in:
Samuel Wagstaff papers, 1932-1985
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_9059

Stanley Twardowicz papers

Creator:
Twardowicz, Stanley, 1917-  Search this
Names:
Contemporary Arts (Gallery)  Search this
John Simon Guggenheim Memorial Foundation  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Ohio State Fair  Search this
Whitney Museum of American Art  Search this
Dodson, Lillian  Search this
Kerouac, Jack, 1922-1969  Search this
Lichtenstein, Dorothy  Search this
Lichtenstein, Roy, 1923-1997 -- Photographs  Search this
Nicosi, Gerald  Search this
Olitski, Jules, 1922-2007  Search this
Parker, Raymond, 1922- -- Photographs  Search this
Smith, David, 1906-1965 -- Photographs  Search this
Verzyl, Kim Greer  Search this
Extent:
1.1 Linear Feet
Type:
Archival materials
Collection descriptions
Video recordings
Resumes
Drawings
Photographs
Sound recordings
Scrapbooks
Awards
Memoirs
Theses
Date:
1942-2009
Summary:
The papers of painter and photographer Stanley Twardowicz measure 1.1 linear feet and date from 1942-2009, with the bulk of the papers dating from 1942-1981. The papers contain biographical material, scrapbooks, letters, printed material, photographs, and audio and video recordings regarding the career of Stanley Twardowicz as a painter and photographer.
Scope and Content Note:
The papers of painter and photographer Stanley Twardowicz measure 1.1 linear feet and date from 1942-2009, with the bulk of the papers dating from 1942-1981. The papers contain biographical material, scrapbooks, letters, writings, printed material, photographs, and audio and video recordings regarding the career of Stanley Twardowicz as a painter and photographer.

Biographical material consists of various curriculum vitae, a list of exhibitions and awards from 1942-1954, and typed excerpts from reviews of Twardowicz's one-man shows at Contemporary Arts Gallery during 1951.

Writings include an unpublished hand-written 70 page memoir by Twardowicz entitled "A Life with No Tears" covering the artist's early life through 1970, a master's thesis "Stanley Twardowicz, Tracing the Roots of an American Modernist" by Kim Greer Verzyl written in 1978, and a 2008 writing by Gerald Nicoisa which describes his relationship with Twardowicz.

Scrapbooks are two disbound volumes organized by years. They contain the artist's collection of exhibition announcements, catalogs, and lists; press clippings; letters advising of awards and fellowships; and Ohio State Fair ribbons for excellence in fine art.

Printed materials and related items consist of chronological files that retain their original order. Found are printed materials relating to exhibitions, letters, and audio visual materials. Of particular interest is the 1956 letter advising Twardowicz that he has been awarded a John Simon Guggenheim Memorial Foundation Fellowship in creative painting.

Photographs include pictures of the artist and ones taken by Twardowicz. Twardowicz's photographs are of Roy Lichtenstein, David Smith, Jules Olitski, Roy Parker, Mike Kanemitsu, Betty Parsons, Lillian Dodson (the artist's wife), and Jack Kerouac. There also is a photograph by Dorothy Lichtenstein of Twardowicz, Parker, Dodson and Roy Lichtenstein and casual snapshots of the artist and friends and family.
Arrangement:
The collection is arranged as 5 series:

Series 1: Biographical Material, 1951-2008 (Box 1; 1 folder)

Series 2: Writings, 1951-2008 (Box 1; 0.1 linear ft.)

Series 3: Scrapbooks, 1942-1951 (Box 1; 0.25 linear ft.)

Series 4: Printed Material and Related Items, 1946-2009 (Box 1; 0V 2; 0.6 linear ft.)

Series 5: Photographs, circa 1960-1979 (Box 1; 3 folders)
Biographical Note:
Stanley Twardowicz (1917-2008) was a painter, photographer and teacher. He is associated with the 1950's Abstract Expressionists of the Cedar Tavern in Greenwich Village, New York and with Beat Generation poet Jack Kerouac.

Twardowicz was born Stanley Jon Leginsky in July, 1917, but took his godfather's surname at age 20 when he married. After working at various jobs, in 1940 Twardowicz enrolled in Detroit's Meinzinger's Art School.

In 1946 Twardowicz was awarded a scholarship to the Skowhegan School of Painting and Sculpture in Maine, his first exposure to a creative arts community. There he met Yasuo Kuniyoshi, Jack Levine and Philip Guston. Through his associations at Skowhegan, Twardowicz obtained a teaching position at Ohio State University. He taught there until 1951, becoming friends with fellow instructor, Roy Lichtenstein. Twardowicz married (Ruth) Ann Mandel in 1949 and they lived in an artists' community near Guadalajara, Mexico. Twardowicz then travelled in Europe, his work edging towards an expressionist technique and mood. By 1953 Twardowicz painted in a fully abstract manner.

Upon his return to the States, Twardowicz frequented the Cedar Tavern in Greenwich Village, New York, where he met and was deeply influenced by Abstract Expressionists such as Willem de Kooning, Franz Kline and Jackson Pollock. During this time he had one-man shows and participated in group shows at the Whitney Museum of American Art, the Art Institute of Chicago, the Solomon R. Guggenheim Museum, and the Pennsylvania Academy of Fine Arts. He was represented in the Museum of Modern Art's travelling exhibition "Young American Painters."

In 1956 Twardowicz received a Guggenheim Fellowship in creative painting and moved to Northport, Long Island, where he befriended area artists Jules Olitski and George Grosz. Between 1958 and 1970 the Peridot Gallery in New York presented annual one-man shows of Twardowicz's work. Twardowicz also participated in numerous major group shows at institutions such as the Whitney Museum of American Art.

Twardowicz began his long teaching career at Hofstra University in 1964, where he met his third wife, Lillian Dodson, a fellow artist. Twardowicz's career as a photographer also prospered. Edward Streichen, then Director of Photography at the Museum of Modern Art, selected six of Twardowicz's photographs for the Museum's permanent collection. In June, 1967 Tardowicz took photographs of Jack Kerouac in his Lowell, Massachusetts home, which became the subject of an art book portfolio called Stashou and Yasho.

During the 1990's there was renewed interest in Twardowicz's work with a show at Mitchell Algus' Gallery in Soho, New York City. In 2001, the Phoenix Art Museum celebrated Twardowicz's contributions as a Color Field painter with a retrospective exhibition "Moving Color."

Twardowicz died on June 12, 2008 in Northport, Long Island.
Provenance:
The papers were donated to the Archives of American Art in 2010 by Lillian Dodson, widow of Stanley Twardowicz.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Stanley Twardowicz papers are owned by the Archives of American Art, Smithsonian Institution. The donor, Lillian Dodson, has retained copyright to materials created by Twardowicz. Archives of American Art has been given a non-exclusive license to reproduce and display. The collection is subject to all copyright laws.
Topic:
Photographers -- New York (State)  Search this
Painters -- New York (State)  Search this
Genre/Form:
Video recordings
Resumes
Drawings
Photographs
Sound recordings
Scrapbooks
Awards
Memoirs
Theses
Citation:
Stanley Twardowicz papers, 1942-2009, bulk 1942-1981. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.twarstan
See more items in:
Stanley Twardowicz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-twarstan

Otto and Ilse Gerson papers

Creator:
Gerson, Otto  Search this
Gerson, Ilse, 1901-1980  Search this
Names:
Fine Arts Associates  Search this
Galerie Dina Vierny  Search this
Marlborough-Gerson Gallery  Search this
Otto Gerson Gallery (New York, N.Y.)  Search this
Lipchitz, Jacques, 1891-1973  Search this
Marcks, Gerhard  Search this
Smith, David, 1906-1965  Search this
Turner, J. M. W. (Joseph Mallord William), 1775-1851  Search this
Valentin, Curt, 1902-1954  Search this
Wotruba, Fritz, 1907-1975  Search this
Extent:
3 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Date:
1933-1980
Summary:
The papers of New York art dealers and gallery owners Otto and Ilse Gerson measure 3 linear feet and date from 1933 to 1980. This collection includes biographical materials, correspondence, exhibition files, artists' files, collectors' files, business records, inventory and stock records, printed materials, and photographs.
Scope and Contents:
The papers of New York art dealers and gallery owners Otto and Ilse Gerson measure 3 linear feet and date from 1933 to 1980. This collection includes biographical materials, correspondence, exhibition files, artists' files, collectors' files, business records, inventory and stock records, printed materials, and photographs.

Biographical material consists of Otto and Ilse Gerson's naturalization certificates and Ilse Gerson's will.

Correspondence includes a mixture of personal and professional letters. There are a few scattered letters between Otto and Ilse Gerson as well as correspondence with clients, museums, dealers, and artists. Notable correspondents include art dealer Curt Valentin and the artist Gerhard Marcks. There is also correspondence with the Dina Vierny Gallery in Paris, France.

There is a small number of files on the Joseph Mallord William Turner exhibition at Gerson Gallery in 1960 which include correspondence, loan forms, and printed material.

Artists' files contain correspondence, estimates, inventories, sales records, and printed material for art work by five different artists such as Jacques Lipchitz, David Smith, and Fritz Wotruba.

Collectors' files include correspondence, invoices, photographs, and other material related to purchases by various art collectors.

Business records consist of purchase and sales records, audit reports, balance sheets, certificates of authenticity, a sales ledger, and legal documents regarding the business conducted by Fine Arts Associates and Otto Gerson Gallery, and legal agreements and contracts related to the Marlborough-Gerson Gallery merger.

Inventory and stock records include assorted art inventories, a stock book, and stock cards for artists.

Printed material includes a few Gerson Gallery exhibition catalogs and clippings of exhibition reviews.

Photographs consists of a few snapshots of Otto and Ilse Gerson and images of gallery installations.
Arrangement:
The collection is arranged as 9 series.

Series 1: Biographical Material, 1933-1973 (0.1 linear feet; Box 1)

Series 2: Correspondence, 1937-1980 (0.5 linear feet; Box 1)

Series 3: Turner Exhibition Files, 1960-1961 (0.1 linear feet; Box 1)

Series 4: Artists' Files, 1950-1966 (0.3 linear feet; Boxes 1-2)

Series 5: Collectors' Files, 1956-1966 (0.3 linear feet; Box 2)

Series 6: Business Records, circa 1945-1964 (0.3 linear feet; Box 2)

Series 7: Inventory and Stock Records, 1946-1965 (1.3 linear feet; Boxes 2-3)

Series 8: Printed Material, 1951-1962 (0.1 linear feet; Box 3)

Series 9: Photographs, circa 1945-circa 1960 (2 folders; Box 3)
Biographical / Historical:
Otto Gerson was born in Germany and immigrated to the United States, where he met and married Ilse Goehler in 1939. They both became U.S. citizens and together they rose to prominence as art dealers in New York City, circa 1940-1962, bringing works by noted post-war European (and some American) artists to the American market.

The Gersons also owned and operated galleries in New York, including Fine Arts Associates and Gerson Gallery. The Gerson Gallery was located at 41 East 57th Street in New York City and later merged with another gallery to form the Marlborough-Gerson Gallery around 1963, shortly after Otto Gerson's death.
Provenance:
The Otto and Ilse Gerson papers were donated to the Archives of American Art in 1984 by Indian Head Bank North on behalf of Otto and Ilse Gerson.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Otto and Ilse Gerson papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art galleries, Commercial -- New York (State) -- New York  Search this
Art galleries, Commercial -- France -- Paris  Search this
Art -- Collectors and collecting  Search this
Gallery owners  Search this
Art dealers  Search this
Art, Modern -- 20th century  Search this
Genre/Form:
Photographs
Citation:
Otto and Ilse Gerson papers, 1933-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gersotto
See more items in:
Otto and Ilse Gerson papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-gersotto

David Smith interview, 1964 Oct. 25

Creator:
Smith, David, 1906-1965  Search this
Horosko, Marian  Search this
Topic:
Interviews  Search this
Sculptors  Search this
Sculpture, American  Search this
Record number:
(DSI-AAA_CollID)10478
(DSI-AAA_SIRISBib)213890
AAA_collcode_smitdavi
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213890

David Smith conversation with Emanuel Navaretta

Creator:
Smith, David, 1906-1965  Search this
Navaretta, Emanuel, 1914-1977  Search this
Type:
Sound Recording
Date:
not after 1965
Record number:
(DSI-AAA)11691
See more items in:
Audio recordings, circa 1960-1974
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_11691

Thomas Hess papers

Creator:
Hess, Thomas B.  Search this
Names:
Mark Rothko Foundation  Search this
Bess, Forrest, 1911-1977  Search this
Campbell, Lawrence  Search this
De Kooning, Elaine  Search this
De Kooning, Willem, 1904-  Search this
Frankenthaler, Helen, 1928-2011  Search this
Gottlieb, Adolph, 1903-1974  Search this
Guston, Philip, 1913-1980  Search this
Kline, Franz, 1910-1962  Search this
Milles, Carl, 1875-1955  Search this
Newman, Barnett, 1905-1970  Search this
Noguchi, Isamu, 1904-1988  Search this
Reinhardt, Ad, 1913-1967  Search this
Rivers, Larry, 1925-2002  Search this
Rosenberg, Harold, 1906-1978  Search this
Rothko, Mark, 1903-1970  Search this
Schapiro, Meyer, 1904-  Search this
Schuyler, James  Search this
Smith, David, 1906-1965  Search this
Still, Clyfford, 1904-1980  Search this
Extent:
10 Linear feet
Type:
Archival materials
Collection descriptions
Sound recordings
Drawings
Greeting cards
Illustrated letters
Paintings
Cartoons (humorous images)
Photographs
Collages
Date:
1939-1978
Summary:
The papers of New York editor and art critic Thomas Hess measure 10.0 linear feet and date from 1939 to 1978. The collection includes biographical materials, correspondence, extensive writings and notes, artists and subject files that also include recorded conversations with artists and others, printed materials, photographic materials, and artwork.
Scope and Contents:
The papers of New York editor and art critic Thomas Hess measure 10.0 linear feet and date from 1939 to 1978. The collection includes biographical materials, correspondence, extensive writings and notes, artists and subject files that also include recorded conversations with artists and others, printed materials, photographic materials, and artwork.

Biographical material includes a certificate, architectural plans, investment information, invoices, publisher and loan agreements, will for Paul Stamm, and resumes. Correspondence is with members of Hess' family including his wife and children, Philip Guston, Meyer Schapiro, David Smith, James Schuyler, Forrest Bess, Elaine de Kooning, Barnett Newman, Larry Rivers, Clyfford Still, Ad Reinhardt, and others.

Writings and notes consist of manuscripts and drafts by Hess for Art News, Le Monde, Vogue, New York magazine, and other publications; Hess' senior essay and class notes; notes on Ingres, Italian artists, and travels abroad; notebooks on art and literature; and scattered writings by others.

Artists and subject files contain primarily photographs of artwork, artists, and colleaguesare mostly photographs of artwork, artists, and colleagues. Some of the files also contain printed materials, writings, notes, and other documentation. The file on Willem de Kooning includes a sound recording of a conversation between Hess, de Kooning, and Harold Rosenberg. There are also significant files on Elaine de Kooning, Helen Frankenthaler, Adolph Gottlieb, Franz Kline, Carl Milles, Barnett Newman, Isamu Noguchi, Ad Reinhardt, Mark Rothko and the Mark Rothko Foundation Inc.

Printed materials include brochures and flyers, clippings, magazines and newspapers, press releases, travel memorabilia, and a printed scarf. Photographs are of of Hess, his wife Audrey, other family members, works of art, travel, Larry Rivers and Ad Reinhardt, and other artists and colleagues. Artwork includes drawings, paintings, collages, cartoons, and holiday cards made by Hess and his children, along with artwork by others including Audrey and Lawrence Campbell, Ad Reinhardt, and unidentified artists.
Arrangement:
The collection is arranged as 7 series.

Series 1: Biographical Materials, 1945-1977 (0.3 linear feet; Box 1, OV 15)

Series 2: Correspondence, circa 1945-1978 (1.0 linear feet; Box 1-2, OV 11)

Series 3: Writings and Notes, circa 1940-1978 (2.5 linear feet; Box 2-5, OV 12)

Series 4: Artists and Subject Files, circa 1946-1978 (4.5 linear feet; Box 5-9, OVs 13, 15-16)

Series 5: Printed Materials, 1943-1978 (0.5 linear feet; Box 9, OV 11)

Series 6: Photographic Materials, 1949-circa 1960s (0.8 linear feet; Box 9-10, OV14)

Series 7: Artwork, 1939-1978 (0.4 linear feet; Box 10, OV 11)
Biographical / Historical:
Thomas Hess (1920-1978) was an editor and art critic who worked in New York City. Hess wrote for Art News magazine for most of his career, serving as editorial associate, executive editor, and as managing editor from 1965-1972. .

Hess was born in Rye, New York to Gabriel Lorie Hess, a lawyer, and Helen Baer. He attended school in the United States and Switzerland. He continued his education at Yale University majoring in French art and literature. After graduating, Hess worked for a short period at the Museum of Modern Art under Alfred H. Barr and Dorothy Miller before entering World War II as a pilot. During this time, he married Audrey Hess with whom he eventually had three children, William, Philip, and Anne Helen.

After the war, Hess began working at Art News as an editorial assistant before becoming the magazine's managing editor from 1965 until 1972. Hess also worked as a correspondent for Le Monde and as an art critic for New York magazine.

Hess was a proponent of abstract expressionists, particularly Barnett Newman and Willem de Kooning with whom he was close friends. He wrote several books including Abstract Painting: Background and American Phase (1951), Willem de Kooning (1959), Barnett Newman (1969), and The Art Comics and Satires of Ad Reinhardt (1975).

Hess became the consultative chairman for the Metropolitan Museum of Art's Department of 20th-Century Art a few months before his death from a heart attack in 1978 at the age of 58.
Separated Materials:
Materials on legacy microfilm reel 5028 related to Barnett Newman are photocopies. The originals are located at the Barnett New Foundation in New York City.
Provenance:
The Thomas Hess papers were donated in multiple increments from 1985 to 1987 by Hess' children, Anne Helen, William, and Philip Hess, except for a file on Barnett Newman donated by Newman's widow, who presumably had borrowed it from Hess. In 2014, additional correspondence, writings, photographs, printed material, and cartoons, including some by Ad Reinhardt, were donated by Elizabeth Wolff, Hess' sister.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Rights:
The Thomas Hess papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Artists -- Italy  Search this
Topic:
Art critics -- New York (State) -- New York  Search this
Editors -- New York (State) -- New York  Search this
Genre/Form:
Sound recordings
Drawings
Greeting cards
Illustrated letters
Paintings
Cartoons (humorous images)
Photographs
Collages
Citation:
Thomas Hess papers, 1939-1978. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hessthom
See more items in:
Thomas Hess papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hessthom
Additional Online Media:

Clement Greenberg papers

Creator:
Greenberg, Clement, 1909-1994  Search this
Names:
American Committee for Cultural Freedom  Search this
Avedisian, Edward, 1936-2007  Search this
Bannard, Walter Darby, 1934-  Search this
Baziotes, Ethel  Search this
Bush, Jack, 1909-  Search this
Caro, Anthony, 1924-  Search this
Connolly, Cyril, 1903-1974  Search this
Davis, Gene, 1920-1985  Search this
Diebenkorn, Richard, 1922-1993  Search this
Dorazio, Piero, 1927-  Search this
Dzubas, Friedel, 1915-  Search this
Emmerich, André  Search this
Feeley, Paul, 1910-1966  Search this
Francis, Sam, 1923-1994  Search this
Frankenthaler, Helen, 1928-2011  Search this
Fuller, Peter, 1947-1990  Search this
Goodnough, Robert, 1917-  Search this
Gottlieb, Adolph, 1903-1974  Search this
Hofmann, Hans, 1880-1966  Search this
Hosaisson, Philippe  Search this
Kainen, Jacob  Search this
Krauss, Rosalind E.  Search this
Moffett, Kenworth  Search this
Motherwell, Robert  Search this
Newman, Barnett, 1905-1970  Search this
Noland, Kenneth, 1924-  Search this
O'Faolin, Nuala  Search this
Olitski, Jules, 1922-2007  Search this
Pepper, Beverly  Search this
Rothko, Mark, 1903-1970  Search this
Sander, Ludwig, 1906-  Search this
Smith, David, 1906-1965  Search this
Smith, Kimber, 1922-1981  Search this
Solomon, Deborah  Search this
Still, Clyfford, 1904-  Search this
Truitt, Anne, 1921-2004  Search this
Waddington, Leslie  Search this
Wisenski, Kurt  Search this
Extent:
8.6 Linear feet
Type:
Archival materials
Collection descriptions
Transcripts
Interviews
Etchings
Photographs
Reports
Date:
1937-1983
Summary:
The papers of art critic, author, and lecturer Clement Greenberg measure 8.6 linear feet and date from 1937 to 1983. The bulk of the collection consists of letters from art critics, artists, family, friends, galleries, and museums. Notable correspondents include Jack Bush, Anthony Caro, Richard Diebenkorn, Friedel Dzubas, Helen Frankenthaler, Adolph Gottlieb, Hans Hofmann, Morris Louis, Robert Motherwell, Charles Pollock, Jules Olitski, David Smith, and Anne Truitt among others. Also found are biograpical materials, personal business and financial records, an etching by Kurt Wisneski, printed materials, and two reports by Greenberg concerning his travels.
Scope and Content Note:
The papers of influential New York art critic Clement Greenberg measure 8.6 linear feet and date from 1937 to 1983. The bulk of the papers (7 feet) consists of letters from art critics, artists, family, friends, galleries, and museums, with some letters from Greenberg. Correspondents include Edward Avedisian, Darby Bannard, Ethel Baziotes, Jack Bush, Anthony Caro, Gene Davis, Richard Diebenkorn, Piero Dorazio, Friedel Dzubas, Andre Emmerich, Paul Feeley, Sam Francis, Helen Frankenthaler, Robert Goodnough, Adolf Gottleib, Hans Hofmann, Philippe Hosiasson, Jacob Kainen, Rosalind Krauss, Robert Motherwell, Ken Moffett, Barnett Newman, Kenneth Noland, Jules Olitski, Beverly Pepper, Ludwig Sander, David Smith, Kimber Smith, Clyfford Still, Anne Truitt, and Leslie Waddington.

Biographical materials include a transcript of an interview with Greenberg conducted by Deborah Solomon in 1983. Greenberg's personal business and financial records include correspondence regarding his lectures and seminars, requests for his writings, student queries, documents regarding his television and radio appearances, royalty statements, and receipts for gifts of works of art. Also found within business records are documents relating to Greenberg's testimony at the Mark Rothko Trial in 1974.

Artwork consists of one etching by Kurt Wisenski entitled "Spring." The papers contain very few of Greenberg's writings about art. Found are lists of artists, and reports written by Greenberg on the state of art in Japan and India in 1967, likely related to his membership in the American Committee for Cultural Freedom. Printed material includes scattered clippings concerning art and exhibition announcements.

One series of ACCESS RESTRICTED papers contains documents relating to Greenberg's role as a trustee in the David Smith estate; correspondence between Greenberg with Andre Emmerich and Peter Fuller, Nuala O'Faolain, and the Greenberg family; and some financial materials regarding the sale and loan of Greenberg's art collection.
Arrangement:
The collection is arranged as 7 series:

Series 1: Biographical Information, circa 1950s-1983 (Box 1; 2 folders)

Series 2: Business and Financial Records, 1940-1983 (Box 1; 12 folders)

Series 3: Correspondence, 1937-1983 (Boxes 1-8; 7 linear feet)

Series 4: Artwork, 1973 (Box 8; 1 folder)

Series 5: Writings and Notes, 1967-1983 (Box 8; 3 folders)

Series 6: Printed Material, 1950-1982 (Box 8; 2 folders)

Series 7: Restricted Material, 1963-1983 (Boxes 9-11; 1.2 linear feet)
Biographical Note:
Clement Greenberg was a highly influential art critic working in New York City from the 1940s through the 1960s. He was an advocate of modern art, particulary the abstract expressionist movement, and one of the first critics to recognize the significance of Jackson Pollock's work.

Greenberg was born in 1909 to Russian immigrants in Bronx, New York. After graduating from Syracuse University in 1930, he married and had a child, David. He settled in New York City while working at the United States Customs Department as an appraiser.

In the late 1930s, Clement Greenberg attended a meeting of the U.S. Works Progress Administration and heard Hans Hofmann speak of avant-garde art. In 1939, he wrote one of his first important critical pieces "Avant-Garde and Kitsch" for the Partisan Review. Greenberg argued that the avant-garde art movement rose out of the need to defend and maintain high art standards against the decline in taste brought about by America's consumerism and capitalist culture.

In 1940, Greenberg joined Partisan Review as an editor. He became art critic for the Nation in 1942, and was associate editor of Commentary from 1945 until 1957. In December 1950, he joined the CIA-fronted American Committee for Cultural Freedom.

Throughout the 1940s through the 1960s Greenberg continued to write and, in his essays and articles, he promoted the work of Abstract Expressionists, among them Jackson Pollock, Willem de Kooning, Hans Hofmann, Barnett Newman, and Clyfford Still. He particularly championed Jackson Pollock. Greenberg wrote several seminal essays that defined his views on art history in the 20th century. "Greenberg on Collage" was one one of his most important.

Greenberg's views on pop art were mixed. He also became less enamored with Abstract Impressionism, particularly the second generation. However, he became very interested in the Color-Field and Hard-Edge painters.

Through the 1960s Greenberg's views informed a younger generation of art critics including Michael Fried and Rosalind E. Krauss. Some writers maintain that Greenberg's views were so well-respected that he had too much of an influence on the world of art. In time, Greenberg's antagonism to Postmodernist theories and other modern art movements caused him to lose much of his credibility among both artists and art critics.

Greenberg died at the age of eighty-five in 1994.

Since his death, letters edited by his widow, Janice Van Horne and a re-evaluation of his writings have helped to restore his reputation within the art world.
Related Material:
The Portland Art Museum holds Clement Greenberg's private art collection as well as a library of exhibition catalogs.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reels N69-91, N70-7, and N737). Most, but not all, of these papers were later donated by Greenberg. Loaned materials not donated at a later date remain with the lender and are not described in the container listing of this finding aid.
Provenance:
Clement Greenberg initally lent material for microfilming in 1968-1969. He donated most of this material with additional papers in several accretions between 1984 to 1991.
Restrictions:
Use of original papers requires an appointment. Some of the collection is ACCESS RESTRICTED: documents relating to the estate of David Smith; some correspondence with Peter Fuller, Nuala O'Faolain, and the Greenberg family; and sale and loan agreements. Contact the reference staff for more information about permission to use this portion of the collection.
Rights:
The Clement Greenberg papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art criticism -- New York (State) -- New York  Search this
Art -- Japan  Search this
Art -- India  Search this
Modernism (Art) -- New York (State) -- New York  Search this
Art -- Economic aspects  Search this
Art critics -- New York (State) -- New York  Search this
Genre/Form:
Transcripts
Interviews
Etchings
Photographs
Reports
Citation:
The Clement Greenberg papers, 1937-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.greeclep
See more items in:
Clement Greenberg papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-greeclep
Additional Online Media:

Mildred Constantine Papers

Creator:
Constantine, Mildred  Search this
Names:
Cleveland Museum of Art  Search this
Getty Conservation Institute  Search this
Museum of Modern Art (New York, N.Y.) -- Employees  Search this
Museum of New Mexico  Search this
Ohio State University  Search this
Philadelphia Museum of Art  Search this
Rhode Island School of Design  Search this
Abakanowicz, Magdalena  Search this
Albers, Anni  Search this
Barr, Alfred Hamilton, 1902-  Search this
Barragán, Luis, 1902-  Search this
Block, Lou, 1895-1969  Search this
Bourgeois, Louise, 1911-2010  Search this
Buic, Jagoda, 1930-  Search this
Burle Marx, Roberto, 1909-1994  Search this
Cohen, Elaine Lustig, 1927-  Search this
Coiner, Charles T., 1897-  Search this
Corzo, Miguel Angel  Search this
D'Harnoncourt, Anne, 1943-2008  Search this
Danto, Arthur Coleman, 1924-  Search this
Dehner, Dorothy, 1901-1994  Search this
Fitch, James Marston  Search this
Goeritz, Mathias, 1915-  Search this
Hart, Allen M., 1925-  Search this
Hicks, Sheila, 1934-  Search this
Koch, Richard H., d. 2009  Search this
Larsen, Jack Lenor  Search this
Lionni, Leo, 1910-  Search this
Reeves, Ruth, 1892-1966  Search this
Reuter, Laurel  Search this
Roosevelt, Eleanor, 1884-1962  Search this
Shahn, Ben, 1898-1969 -- Photographs  Search this
Smith, David, 1906-1965  Search this
Ten Haeff, Ingeborg, 1915-  Search this
Vignelli, Massimo  Search this
Weisman, Donald M.  Search this
Wilder, Elizabeth, 1908-  Search this
Wilke, Ulfert, 1907-1987  Search this
Zeisler, Claire, 1903-1991  Search this
Extent:
5.3 Linear feet
Type:
Archival materials
Collection descriptions
Scrapbooks
Photographs
Illustrated letters
Transcripts
Video recordings
Interviews
Date:
1945-2008
Summary:
The papers of Mildred Constantine measure 5.3 linear feet and are dated 1945-2009. Subject files, writings, photographs, and a scrapbook provide an overview of her curatorial work in the Architecture and Design department of the Museum of Modern Art, and subsequent activities as an independent curator, and art consultant. Especially well documented is Whole Cloth, a book written with Laurel Reuter that presents an historical overview of how artists have used cloth in their work.
Scope and Content Note:
The papers of Mildred Constantine measure 5.3 linear feet and are dated 1945-2008. Subject files, writings, photographs, and a scrapbook provide an overview of her curatorial work in the Architecture and Design department of the Museum of Modern Art, and subsequent activities as an independent curator, and art consultant. Especially well documented is the book Whole Cloth that she wrote with Laurel Reuter.

Correspondence, though mostly business related, often touches on personal matters since many of the artists and art world figures with whom she corresponded were also friends. Correspondents include Miguel Angel Corzo, Arthur C. Danto, Dorothy Dehner, Allen Hart (who sent more than 40 illustrated letters), Elizabeth Wilder and Donald L. Weisman. She also corresponded with many art institutions and organizations, among them the Cleveland Museum of Art, Independent International Design Conference, El Museo del Barrio, Museum of New Mexico, Ohio State University, Philadelphia Museum of Art, and the Estate of David Smith.

Subject files reflect Constantine's activities and interests. A large portion of this series concerns Whole Cloth, a book written with Laurel Reuter that presents an historical look at how artists have used cloth in their work. Correspondence between the two authors, with artists, institutions, and others concerns researching and writing the volume. Also documented are the successes and failures of Constantine's decade long pursuit to publish the book. Other substantive files relate to the Cleveland Museum of Art, Getty Conservation Institute, Sheila Hicks, Jack Lenor Larsen, Rhode Island School of Design, and Soviet Film Posters. Files concerning the University of the Arts' 2003 Commencement include a videocassette.

Writings by Constantine are lecture material and notes. Also found are transcripts of interviews with Constantine and writings by others. Printed material includes newspaper and magazine articles about Constantine and her career. A scrapbook of printed material and photographs documents an exhibition of Latin American posters at the Library of Congress organized by Constantine.

Photographs of people include Mildred Constantine with family, friends, artists and others at public and private events around the world. Notable photographs include: Magdalena Abakanowicz, Anni Albers, Alfred Barr, Luis Barragan, Lou Block, Louise Bourgeois, Jagoda Buic, Elaine Lustig Cohen, Charles Coiner, James Marston Fitch, Mathias Goeritz, Ingeborg Ten Haeff, Ann d'Harnoncourt, Sheila Hicks, Richard Koch, Nancy Koenigsberg, Jack Lenor Larsen, Leo Lionni, Roberto Burle Marx, Ruth Reeves, Laurel Reuter, Eleanor Roosevelt, Ben Shahn, Massimo Vignelli, Ulfert Wilke, and Claire Zeisler. Also, there are photographs of artwork by a wide range of artists.
Arrangement:
The Mildred Constantine papers are organized into 8 series.

Series 1: Biographical Material, 1947-1997 (Boxes 1, 6; 0.2 linear feet)

Series 2: Correspondence, 1964-2008 (Boxes 1, 6; 1.0 linear feet)

Series 3: Subject Files, 1964-2008 (Boxes 2-5; 3.3 linear feet)

Series 4: Writings, 1991-2008 (Box 5; 0.2 linear feet)

Series 5: Printed Material, 1961-2006 (Box 5; 0.2 linear feet)

Series 6: Photographs, 1993 (Box 5; 0.3 linear feet)

Series 7: Artwork, 1945 (Box 5; 1 folder)

Series 8: Scrapbook, circa 1940s (Box 6; 0.1 linear feet)
Biographical Note:
Curator and writer Mildred Constantine (1913-2008) was associated with the Museum of Modern Art's Department of Architecture and Design from 1943 to 1971. She then became an art consultant and independent curator, and wrote on fiber and textiles, decorative arts, photography, caricature and cartoons.

Mildred Constantine (known as "Connie") began her career at College Art Association. Hired as a stenographer in 1930, she soon was promoted to editorial assistant for Parnassus, the forerunner of Art Journal.

Constantine left the College Art Association in 1937 to study at New York University and earned BA and MA degrees. She then continued her education at the National Autonomous University of Mexico. In 1940, Constantine worked in the Office of Inter-American Affairs at the Library of Congress; it was there that she met René d'Harnoncourt.

Influenced by her 1936 travels in Mexico, Constantine's first curatorial effort was an exhibition of Latin American posters. Drawn from the collection of the Museum of Modern Art, the exhibition was held at the Library of Congress.

At the urging of René d'Harnoncourt, The Museum of Modern Art's Architecture and Design Department hired Constantine in 1943. The majority of her 28 year tenure at the museum was spent working with the department's founder, architect Philip Johnson. As a curator during the 1950s and 1960s, Constantine's innovative exhibitions brought lesser known portions of the museum's collection to public attention. Among her exhibtions were: "Words and Images," that focused on graphic design and posters; "Polio Posters," the first Museum of Modern Art show dedicated to social issues; "Olivetti: Design in Industry;" "Signs in the Street;" and "Lettering by Hand." She also published books on Art Nouveau, contemporary package design, and other subjects.

In 1971, Constantine left the Museum of Modern Art to become an independent curator and art consultant. Exhibitions included "Frontiers in Fiber: The Americans," and "Small Works in Fiber" with Jack Lenor Larsen. Tina Modotti: A Fragile Life, Constantine's book on the photographer, actress, model, and political activist, appeared in 1974. That same year, she and Alan Fern produced Revolutionary Soviet Film Posters that focused on works from the 1920s. Her last published work, Whole Cloth, was written with Laurel Reuter and published in 1997. Constantine continued to research and write, and at the time of her death was working on a large, international survey of the study of thread.

Mildred Constantine and Ralph W. Bettelheim (1909-1993) were married for 50 years. They had two daughters, Judith and Vicki.

Mildred Constantine died from heart failure on December 10, 2008, at home in Nyack, New York.
Related Material:
Oral history interviews with Mildred Constantine were conducted for the Archives of American Art by Harlan Phillips, 1965 October 15, and by Paul Cummings, 1976 May 3-1976 August 26.
Provenance:
The papers were donated to the Archives in 2009 by Mildred Constantine's daughters, Judith Bettelheim and Vicki McDaniel.
Restrictions:
Use of origininal material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Mildred Constantine 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:
Film posters, Russian  Search this
Textile fabrics in art  Search this
Curators -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Photographs
Illustrated letters
Transcripts
Video recordings
Interviews
Citation:
Mildred Constantine papers, 1945-2008. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.consmild
See more items in:
Mildred Constantine Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-consmild
Additional Online Media:

Nathan Halper business records

Creator:
Halper, Nathan  Search this
Names:
H.C. Gallery (Provincetown, Mass.)  Search this
H.C.E. Gallery (Provincetown, Mass.)  Search this
Kootz Gallery (N.Y.)  Search this
National Association of Women Artists (U.S.)  Search this
Sun Gallery (Provincetown, Mass.)  Search this
Avery, Milton, 1885-1965  Search this
Botkin, Henry, 1896-1983  Search this
Brodie, Gandy, 1925-1975  Search this
Caro, Anthony, 1924-  Search this
Cuddihy, John Murray  Search this
Gottlieb, Adolph, 1903-1974  Search this
Hartley, Marsden, 1877-1943  Search this
Hofmann, Hans, 1880-1966  Search this
Kootz, Samuel Melvin, 1898-1982  Search this
Motherwell, Robert  Search this
Smith, David, 1906-1965  Search this
Stankiewicz, Richard, 1922-1983  Search this
Extent:
4.2 Linear Feet
Type:
Archival materials
Collection descriptions
Photographs
Gallery records
Visitors' books
Date:
1952-1979
Summary:
Records of four of Nathan Halper's Provincetown galleries measure 4.2 linear feet and date from 1952-1979. The records relate to Kootz Gallery, H-C Gallery, HCE Gallery, and Sun Gallery - all based in Provincetown. The bulk of the collection consists of correspondence with artists, estate executors, collectors, galleries, and museums. There are also scattered business and financial records documenting operations and sales, photographs and slides, printed materials, and one poem. Correspondents include Milton Avery, Anthony Caro, John Murray Cuddihy, Marsden Hartley, Hans Hoffman, Samuel Kootz, Robert Motherwell, David Smith, Richard Stankeiwicz, and many others.
Scope and Contents note:
Records of four of Nathan Halper's Provincetown galleries measure 4.2 linear feet and date from 1952-1979. The records relate to Kootz Gallery, H-C Gallery, HCE Gallery, and Sun Gallery - all based in Provincetown. The bulk of the collection consists of correspondence with artists, estate executors, collectors, galleries, and museums. There are also scattered business and financial records documenting operations and sales, photographs and slides, printed materials, and one poem. Correspondents include Milton Avery, Anthony Caro, John Murray Cuddihy, Marsden Hartley, Hans Hoffman, Samuel Kootz, Robert Motherwell, David Smith, Richard Stankeiwicz, and many others.

Biographical material consists of one literary poem.

The bulk of the collection consists of correspondence with many artists, estate executors, gallery partners, collectors, galleries, and museums regarding works of art, sales, account balances, requests for information, and general updates.

Scattered business records are found for all four galleries and include a Kootz Gallery guest register, address books, corporation and partnership agreements for the Kootz, H-C, HCE, and Sun galleries, insurance policies, and a Kootz Gallery employee file. Both the guest register and address books were also used as general business related notebooks.

Financial material consists of inventory stock books, price lists and sales, checkbook registers, and general expense invoices/receipts for the four galleries. The undated stock books list artists' names, general artwork identification information, and prices. Additional sales information is found in price lists, correspondence, sales notebooks, and checkbook registers. Invoices and receipts also document general operating expenses.

Printed material includes newspaper clippings on the Provincetown art scene and major artists represented by Halper, three exhibition catalogs, and an event calendar from the National Association of Women Artists.

Photographic material consists of prints and slides of the Kootz, H-C, and HCE galleries; black and white and color prints of exhibitions by Harry Botkin, Adolph Gottlieb, Robert Motherwell, and Hans Hofmann; and black and white prints, color slides, and transparencies of select works of art shown at the galleries.
Arrangement note:
The collection is arranged as 6 series:

Series 1: Biographical Material, circa 1953-1970 (Box 1; 1 folder)

Series 2: Correspondence, 1952-1979 (Boxes 1-2; 1.3 linear feet)

Series 3: Business Records, 1953-1970 (Box 2; .7 linear feet)

Series 4: Financial Material, 1953-1970 (Boxes 3-4; 2 linear feet)

Series 5: Printed Material, 1952-1976 (Box 5; 3 folders)

Series 6: Photographic Material, 1953-1969 (Box 5; 11 folders)
Biographical/Historical note:
Nathan Halper (1907-1983) worked in Provincetown, Massachusetts as a contemporary American art dealer, writer, and James Joyce scholar.

Nathan Halper first moved to Provincetown, Massachusetts in 1936 where he met and eventually married his wife, Helen Marjorie Windust Halper. During the late 1940s and early 1950s, their circle of friends included artists, writers, and academics drawn to the Provincetown art colony. Through friendships with Adolph Gottlieb and Fritz Bultman, Halper was introduced to Hans Hofmann, his students, and other abstract expressionist artists.

In 1949, Halper was invited to give a talk on James Joyce at Forum 49, a Provincetown summer lecture series on the future of art organized by Weldon Kees and held in a gallery at 200 Commercial Street. Speakers ranged from Jackson Pollock to poet laureate Howard Nemerov, and the series also presented one of the first major exhibitions of abstract expressionism in America. In 1952, Halper became the treasurer of the Provincetown Art Association (est. 1914), an influential social nexus that connected artists, galleries, patrons, and the public through memberships and annual events.

In 1953, he entered into a partnership with New York art dealer Sam Kootz and helped establish the Kootz Gallery in Provincetown. Their stable initially consisted of abstract expressionists Kootz represented in New York: Robert Motherwell, Hans Hofmann, Adolph Gottlieb, Fritz Bultman, and William Baziotes. Halper and Kootz mutually agreed to dissolve their partnership in 1954 and Halper opened the H-C Gallery with John Murray Cuddihy in 1955. After Cuddihy's departure at the end of the 1956 season, Halper opened the HCE Gallery (1957-1967), a name inspired by Joyce's Finnegan's Wake. In 1962, Halper entered into a one year partnership with Noah Goldowsky to help finance and run the Sun Gallery.

After the dissolution of the Kootz Gallery, Halper continued to represent Motherwell and, for a short time, Gottlieb in the Provincetown area, but quickly added other artists to the HCE stable. Through its relationship with New York dealers, such as Martha Jackson Gallery, Andre Emmerich Gallery, and Waddington Galleries, HCE was able to exhibit and sell works by Milton Avery, Gandy Brodie, Anthony Caro, Edwin Dickinson, Marsden Hartley, Hans Hoffman, Wolf Kahn, William King, Jan Muller, Elie Nadelman, David Smith, Richard Stankiewicz, Tal Streeter, and Anthony Vevers, among others.
Related Archival Materials note:
Also found in the Archives of American Art are the Kootz Gallery records and oral history interviews with Nathan Halper conducted by Dorothy Seckler, July 17, 1963 and by Robert Brown, July 8-August 14, 1980. Columbia University also holds Nathan Halper's papers concerning his literary scholarly work.
Provenance:
The Nathan Halper business records were donated by Nathan Halper in 1979. Additional materials were donated in 1983 and 1984 by his wife Helen Marjorie Windust Halper.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Nathan Halper business 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 -- Massachusetts -- Provincetown  Search this
Gallery directors  Search this
Art dealers  Search this
Art galleries, Commercial -- Massachusetts -- Provincetown  Search this
Art, Modern -- 20th century -- United States  Search this
Art -- Collectors and collecting -- Massachusetts -- Provincetown  Search this
Genre/Form:
Photographs
Gallery records
Visitors' books
Citation:
Nathan Halper business records, 1952-1979. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.halpnath
See more items in:
Nathan Halper business records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-halpnath
Additional Online Media:

Jane Wade papers regarding Curt Valentin

Creator:
Wade, Jane, 1925-  Search this
Names:
Buchholz Gallery (New York, N.Y.)  Search this
Curt Valentin Gallery (New York, N.Y.)  Search this
Fine Arts Associates  Search this
Universität Hamburg  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Ben-Zion  Search this
Butler, Reg, 1913-1981  Search this
Calder, Alexander, 1898-1976  Search this
Cox, Jan, 1919-1980  Search this
Feininger, Lyonel, 1871-1956  Search this
Flannagan, John Bernard, 1895?-1942  Search this
Gerson, Otto  Search this
Hepworth, Barbara, Dame, 1903-1975  Search this
Kahnweiler, Daniel Henry, 1884-  Search this
Knaths, Karl, 1891-1971  Search this
Kolbe, Georg, 1877-1947  Search this
Lipchitz, Jacques, 1891-1973  Search this
Marcks, Gerhard  Search this
Marini, Marino, 1901-1980  Search this
Masson, André, 1896-1987  Search this
Moore, Henry, 1898-1986  Search this
Odets, Clifford, 1906-1963  Search this
Osborn, Robert Chesley, 1904-1994  Search this
Picasso, Pablo, 1881-1973  Search this
Pickens, Alton  Search this
Pickhardt, Carl E.  Search this
Piper, John, 1903-  Search this
Roesch, Kurt, 1905-  Search this
Smith, David, 1906-1965  Search this
Sutherland, Graham Vivian, 1903-  Search this
Valentin, Curt, 1902-1954  Search this
Extent:
0.6 linear feet
Type:
Archival materials
Collection descriptions
Photographs
Prints
Sketches
Date:
1903-1971
Summary:
The Jane Wade papers regarding art dealer and New York gallery owner Curt Valentin, measure 0.6 linear feet and date from 1903-1971. This small collection consists of papers donated by former Curt Valentin Gallery employee Jane Wade, which provide scattered documentation of Valentin's life and exhibitions at the Buchholz Gallery (renamed Curt Valentin Gallery in 1951) including biographical material, correspondence from artists Valentin represented, writings and notes, lists documenting clients, exhibitions held, and artwork by Picasso sold by the gallery, clippings of obituaries for Valentin, and a complete set of Buchholz Gallery exhibition catalogs from 1937-1948.
Scope and Contents:
The Jane Wade papers regarding art dealer and New York gallery owner Curt Valentin, measure 0.6 linear feet and date from 1903-1971. This small collection consists of papers donated by former Curt Valentin Gallery employee Jane Wade, which provide scattered documentation of Valentin's life and exhibitions at the Buchholz Gallery (renamed Curt Valentin Gallery in 1951) including biographical material, correspondence from artists Valentin represented, writings and notes, lists documenting clients, exhibitions held, and artwork by Picasso sold by the gallery, clippings of obituaries for Valentin, and a complete set of Buchholz Gallery exhibition catalogs from 1937-1948.

Valentin's biographical material is in German and includes his baptismal certificate, a report book from Hamburg University, a letter of recommendation from Commetersche Kunsthandlung, a 1937 permit authorizing Valentin to buy and sell the work of German artists outside Germany, and his 1950 passport.

Valentin's correspondence is primarily with artists and includes letters from Ben-Zion, Reg Butler, Alexander Calder, Jan Cox, Lyonel Feininger, John Flannagan, Barbara Hepworth, Karl Knaths, Gerhard Marcks, André Masson, Henry Moore, Clifford Odets, Carl Pickhardt, Alton Pickens, John Piper, Kurt Roesch, and Graham Sutherland. There are also photocopies of three letters in German from Georg Kolbe. Many of the letters are substantial and provide details about the artists and their work. Also found are a letter vouching for Valentin's loyalty to the United States from Alfred Barr, and two 1942 letters from France from art dealer Henry Kahnweiler, containing news of European artists including Picasso and André Masson.

Jane Wade's correspondence extends to her time working for Otto Gerson at Fine Arts Associates, and includes letters from some of the artists whose work was handled by Curt Valentin, including Alexander Calder, Lois Dailey, and Henry Moore. There are also thirteen letters and telegrams from David Smith, with some responses from Jane Wade and Otto Gerson, which document exhibitions and details of his artist-dealer relationship with Gerson and include sketches of his sculpture with information about prices. Also found in Wade's correspondence are letters from Gertrude Lennart and Marino Marini. Lennart describes the last days of Valentin's life as she accompanied him on a visit to Marini in Italy in August 1954.

There are three folders of condolence letters written upon Valentin's death, from artists, museum and gallery professionals, and other colleagues and friends.

Writings and notes include two appreciations of Valentin written after his death by André Masson and Henry Moore, and a sheet of notes written by John Flannagan with an accompanying note entitled "Some of Johns' thoughts...."

Printed material is comprised of news clippings of obituaries and reviews of a memorial exhibition for Valentin, in addition to a complete set of bound exhibition catalogs for Buchholz Gallery from 1937-1948. Also found is a bound collection of 1929 exhibition catalogs for Galerie Alfred Flechtheim.

Artwork includes a Christmas card from Valentin designed by an artist whose name is illegible; a print by Gerhard Marcks; and a colored pencil sketch of "127 Evil Eye II" on Curt Valentin letter head, with an address on the Rue de Seine written beside it.

Photographs include two of Valentin in his gallery and two of an unidentified woman, possibly Jane Wade, in the gallery; a folder of photographs of Valentin's apartment showing his art collection; a photo of a Robert Osborn cartoon about Valentin; and a photo of "Portrait of Curt Valentin" by Jacques Lipchitz.
Arrangement:
The collection is arranged as a single series.

Series 1: Jane Wade Papers Regarding Curt Valentin, 1903-1971 (0.6 linear feet; Boxes 1-2)
Biographical / Historical:
Born in Germany in 1902, modern art dealer Curt Valentin immigrated to the United States in 1937 where he opened the Buchholz Gallery on West Forty-sixth Street in New York city. After two years he moved the gallery to West Fifty-seventh Street and in 1951 it was renamed the Curt Valentin Gallery.

Valentin's first job was with Alfred Flechtheim, the leading dealer in modern art in Berlin at that time. In 1934 he began working with Karl Buchholz in Hamburg, selling modern art classified as degenerate by the Nazi government from the rear of Buchholz's bookstore. In 1937 Valentin was granted a permit from the Reichskammer der bildenden Kunste in Berlin to purchase and sell German artwork outside of Germany. He left Germany that same year with a number of pictures and came to the United States.

Valentin was a widely respected dealer who specialized in modern paintings, sculpture, and prints, and handled the work of major artists including Alexander Calder, John Flannagan, Gerhard Marcks, Marino Marini, and Henry Moore.

Valentin died suddenly of a heart attack at the age of 52, while visiting Mario Marini in Italy in 1954.

Jane Wade was employed as Valentin's assistant and continued to help run the Curt Valentin Gallery after his death, until it closed in 1955. She then worked for Otto Gerson at Fine Arts Associates, where she helped to handle the works of some of the artists previously represented by Valentin.
Related Materials:
The bulk of Curt Valentin's papers are held by the Museum of Modern Art Archives.
Provenance:
The Jane Wade papers were donated by Jane Wade in 1976. The catalogs of exhibitions organized by Curt Valentin were donated in 1977 by Jane Wade. In 2018 the two collections were merged and named the Jane Wade papers regarding Curt Valentin.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Rights:
The Jane Wade papers regarding Curt Valentin 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 dealers -- New York (State) -- New York  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Art, Modern -- 20th century  Search this
Gallery owners -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Prints
Sketches
Citation:
Jane Wade papers regarding Curt Valentin, 1903-1971. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.wadejane
See more items in:
Jane Wade papers regarding Curt Valentin
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wadejane
Additional Online Media:

(No Title Given) [art work] / (photographed by Peter A. Juley & Son)

Artist:
Smith, David 1906-1965  Search this
Type:
Photograph
Date:
1953
Image number:
JUL J0122577
See more items in:
Photograph Archives
Data Source:
Archives and Special Collections, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_122578

(No Title Given) [art work] / (photographed by Peter A. Juley & Son)

Artist:
Smith, David 1906-1965  Search this
Type:
Photograph
Date:
1956
Image number:
JUL J0122584
See more items in:
Photograph Archives
Data Source:
Archives and Special Collections, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_122585

(No Title Given) [art work] / (photographed by Peter A. Juley & Son)

Artist:
Smith, David 1906-1965  Search this
Type:
Photograph
Date:
1956
Image number:
JUL J0122585
See more items in:
Photograph Archives
Data Source:
Archives and Special Collections, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_122586

(No Title Given) [art work] / (photographed by Peter A. Juley & Son)

Artist:
Smith, David 1906-1965  Search this
Type:
Photograph
Date:
1956
Image number:
JUL J0122586
See more items in:
Photograph Archives
Data Source:
Archives and Special Collections, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_122587

(No Title Given) [art work] / (photographed by Peter A. Juley & Son)

Artist:
Smith, David 1906-1965  Search this
Type:
Photograph
Date:
1956
Image number:
JUL J0122587
See more items in:
Photograph Archives
Data Source:
Archives and Special Collections, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_122588

(No Title Given) [art work] / (photographed by Peter A. Juley & Son)

Artist:
Smith, David 1906-1965  Search this
Type:
Photograph
Image number:
JUL J0122588
See more items in:
Photograph Archives
Data Source:
Archives and Special Collections, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_122589

(No Title Given) [art work] / (photographed by Peter A. Juley & Son)

Artist:
Smith, David 1906-1965  Search this
Type:
Photograph
Date:
1955
Image number:
JUL J0122589
See more items in:
Photograph Archives
Data Source:
Archives and Special Collections, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_122590

(No Title Given) [art work] / (photographed by Peter A. Juley & Son)

Artist:
Smith, David 1906-1965  Search this
Type:
Photograph
Date:
1955
Image number:
JUL J0122590
See more items in:
Photograph Archives
Data Source:
Archives and Special Collections, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_122591

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