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Social Register

Collection Donor:
Hauber, Joseph R.  Search this
Collection Collector:
Stubblebine, Donald J., 1925-2010  Search this
Container:
Box 594, Folder 7
Type:
Archival materials
Date:
1933
Collection Restrictions:
The collection is open for research but is stored offsite. Arrangements must be made with the Archives Center staff two weeks prior to a scheduled research visit.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Reproduction restricted due to copyright or trademark.
Collection Citation:
Donald J. Stubblebine Collection of Musical Theater and Motion Picture Music and Ephemera, 1866-2009, Archives Center, National Museum of American History, Smithsonian Institution.
See more items in:
Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera
Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera / Series 2: Motion Pictures / 2.2: British Motion Pictures
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-1211-ref19746

Social Register

Collection Donor:
Hauber, Joseph R.  Search this
Collection Collector:
Stubblebine, Donald J., 1925-2010  Search this
Container:
Box 448, Folder 23
Type:
Archival materials
Date:
1934
Collection Restrictions:
The collection is open for research but is stored offsite. Arrangements must be made with the Archives Center staff two weeks prior to a scheduled research visit.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Reproduction restricted due to copyright or trademark.
Collection Citation:
Donald J. Stubblebine Collection of Musical Theater and Motion Picture Music and Ephemera, 1866-2009, Archives Center, National Museum of American History, Smithsonian Institution.
See more items in:
Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera
Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera / Series 2: Motion Pictures / 2.1: United States Motion Pictures
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-1211-ref14302

Social Register

Collection Donor:
Hauber, Joseph R.  Search this
Collection Collector:
Stubblebine, Donald J., 1925-2010  Search this
Container:
Box 143, Folder 10
Type:
Archival materials
Date:
1931
Collection Restrictions:
The collection is open for research but is stored offsite. Arrangements must be made with the Archives Center staff two weeks prior to a scheduled research visit.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Reproduction restricted due to copyright or trademark.
Collection Citation:
Donald J. Stubblebine Collection of Musical Theater and Motion Picture Music and Ephemera, 1866-2009, Archives Center, National Museum of American History, Smithsonian Institution.
See more items in:
Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera
Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera / Series 1: Stage Musicals and Vaudeville / 1.1: United States Stage Musicals
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-1211-ref4397

Social, Liberian Independence Celebrations (Embassy Parties) (see also oversized, Box 163)

Collection Creator:
Davis, Benjamin O., Jr., 1912-  Search this
Container:
Box 8, Folder 12
Type:
Archival materials
Date:
undated
Collection Restrictions:
No restrictions on access
Collection Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Benjamin O. Davis, Jr. Collection, Acc. 1992.0023, National Air and Space Museum, Smithsonian Institution.
See more items in:
Benjamin O. Davis Jr. Collection
Benjamin O. Davis Jr. Collection / Series 2: Military Career / 2.3: Materials Arranged by Posting / 2.3.11: Directorate of Operations, Air Staff, Pentagon (Washington, DC), Chief of Fighter Branch
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_component:sova-nasm-1992-0023-ref1867
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Social, Liberian Independence Celebrations (Embassy Parties) (see also oversized, Box 163) digital asset number 1

Social register locater

Title:
Social register locater ... New York, Washington, Philadelphia, Chicago, Boston, Providence, St. Louis, Pittsburgh, St. Paul, Minneapolis, San Francisco, Oakland, Baltimore, Buffalo, Richmond, North Carolina, Charleston, Savannah, Augusta, Atlanta ..
Author:
Social Register Association (U.S.)  Search this
Physical description:
v. ; 17-24 cm
Type:
Periodicals
Directories
Place:
United States
Date:
1907
1907-
Topic:
Social registers  Search this
Call number:
F128.25 .S673
E154.7.S678
AP1.S67
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_100068

Social register, New York

Author:
Social Register Association (U.S.)  Search this
Physical description:
v. ; 17-18 cm
Type:
Periodicals
Directories
Place:
New York (State)
New York
New York (N.Y.)
Date:
1887
197u
Topic:
Social registers  Search this
Call number:
F128.25 .S67
AP1.S67 N5
AP1.S67N5
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_84063

Social register, summer

Author:
Social Register Association (U.S.)  Search this
Physical description:
v. ; 22 cm
Type:
Directories
Place:
United States
Date:
18uu
Topic:
Social registers  Search this
Upper class  Search this
Call number:
AP1 .S672
F128.25 .S672
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_94702

Doll & Richards gallery records

Creator:
Doll & Richards gallery  Search this
Names:
Azeez Khayat Gallery  Search this
Kleemann Galleries  Search this
Macbeth Gallery  Search this
Museum of Fine Arts, Boston  Search this
Chetcuti, John  Search this
Freiman, Robert  Search this
Goodrich, Lloyd, 1897-1987  Search this
Haseltine, William Stanley, 1835-1900  Search this
Homer, Winslow, 1836-1910  Search this
Lindenmuth, Tod  Search this
Meyerowitz, William, 1887-1981  Search this
Shepler, Dwight, 1905-  Search this
Verner, Elizabeth O'Neill, 1883-1979  Search this
Woodward, Stanley Wingate, 1890-1970  Search this
Wyeth, Andrew, 1917-2009  Search this
Zoehler, Wendell H., 1907-1989  Search this
Extent:
87.5 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Financial records
Date:
1863-1978
bulk 1902-1969
Summary:
The records of the Doll & Richards gallery of Boston measure 87.5 linear feet and date from 1863 to 1978, with the bulk of the material dating from 1902-1960s. Extensive financial and sales records, inventory records, and correspondence and letter books provide a detailed account of the business operations and sales of the gallery. Also found are notes and research files on artists and paintings, business and legal records, exhibition catalogs, six exhibition scrapbooks, printed materials, and photographs. Significant correspondents include John Chetcuti, Robert Freiman, Lloyd Goodrich, Tod Lindenmuth, Macbeth Galleries, William Meyerowitz, Museum of Fine Arts Boston, Stanley Woodward, and Andrew Wyeth, among many others.
Scope and Content Note:
The records of the Doll & Richards gallery of Boston measure 87.5 linear feet and date from 1863 to 1978, with the bulk of the material dating from 1902-1960s. Extensive financial and sales records, inventory records, and correspondence and letter books provide a detailed account of the business operations and sales of the gallery. Also found are notes and research files on artists and paintings, business and legal records, exhibition catalogs, six exhibition scrapbooks, printed materials, and photographs. The bulk of the collection dates from 1902 when the gallery was incorporated and new books were begun. According to gallery employee Wendell Zoehler, many records from the 19th century were discarded and periodically, especially when the gallery moved, other records were discarded.

Incoming and outgoing correspondence documents sales, consignments, appraisals, exhibitions, and inquiries by artists and others to Doll & Richards for over a century. Significant correspondents include artists John Chetcuti, Robert Freiman, Tod Lindenmuth, William Meyerowitz, Dwight Shepler, Elizabeth O'Neill Verner, Stanley Woodward, Andrew Wyeth, and others. Additional correspondents include Lloyd Goodrich from Whitney Museum of American Art, Azeez Khayat Gallery, Macbeth Galleries, Kleemann Galleries, and the Museum of Fine Arts in Boston. There is one letter from George Inness (1866). Outgoing correspondence is limited to 46 volumes of letterpress copybooks dating from 1930-1967.

Notes and research files primarily consist of compiled information about artists in which Doll & Richards dealt. These include card files related to the provenance of paintings by Winslow Homer and William Stanley Haseltine, and a book about Winslow Homer with notations by Zoehler about the sale of paintings .

Administrative and business records of general daily operations include an address book, meeting minutes, miscellaneous lists and notes, and a large card file of contacts with clients, consignors, artists, and businesses. A detailed description of the gallery's operations by Zoehler is also found here. Legal records include contracts, agreements, certificates of stock, certificates of copyrights, and photocopies of founding documents.

Although there are limited records prior to 1902, the financial records provide comprehensive detail of the gallery's financial transactions from the turn of the century through the early 1970s. Volumes of financial ledgers provide details of artwork bought, sold, and consigned; order forms for sales, framing, restoration, and shipping; gallery expenditures and salaries; records of client purchases; and other affairs. Many of the financial records are indexed and cross-referenced, offering researchers complex but rich documentation. The financial records should be consulted with the numerous inventory records that provide detailed information about the stock of art work held at the gallery. Inventory records also include documentation about the frames held by the gallery from the mid-1880s-1950. The gallery used sometimes complex codes to index and cross reference sales and stock. When known, these codes have been outlined in the more detailed series desciptions below, or filed within the appropriate boxes.

The history of Doll & Richards' exhibitions from the 1880s-1968 are documented in six disassembled bound volumes that contained exhibition catalogs and announcements. There are also additional loose catalogs and announcements. Additional printed materials include newspaper clippings related to exhibitions and the gallery and seven scrapbooks related to Doll & Richards' exhibitions from 1909-1943.

The bulk of the black and white photographs in the collection are of works of art by artists that Doll & Richards exhibited. There are only a handful of photographs of other subject matter, but include images of the gallery spaces at 2 Park Street, 71 Newbury, and 138 Newberry; and of artists.
Arrangement:
The collection is arranged as nine series:

Series 1: Correspondence, 1863-1972, bulk 1930s-1972 (Boxes 1-14; 14 linear feet)

Series 2: Notes and Research Files, 1880s-1978, bulk 1930s-1960s (Boxes 15-16, 78; 1.2 linear feet)

Series 3: Business Records, circa 1866-1978, bulk 1910s-1960s (Boxes 16-18; 1.9 linear feet)

Series 4: Legal Records, 1863-1906, 1941-1962 (Boxes 18, 78; 0.3 linear feet)

Series 5: Financial Records, 1871-1973, bulk 1902-1969 (Boxes 18-69, 79, BV81-112; 55 linear feet)

Series 6: Inventory Records, 1881-1969, bulk 1900s-1940s (Boxes 69-70, BV113-128; 2.3 linear feet)

Series 7: Printed Materials, circa 1880s-1968, bulk 1890s-1960s (Boxes 70-75; 4.9 linear feet)

Series 8: Photographs, circa 1880s-1960s (Boxes 75-78; 2 linear feet)

Series 9: Scrapbooks, 1908-1968, bulk 1908-1943 (Boxes 77, 80; 1.1 linear feet)

The records have been arranged according to the original order maintained by the gallery. Bound volumes containing exhibition catalogs glued to the internal spines have been disbound for preservation and proper housing.
Historical Note:
The Doll & Richards gallery originated in Boston in 1866 as an art gallery and framing shop owned by Charles E. Hendrickson, E. Adam Doll, and Joseph Dudley Richards. The gallery was a well-known Boston establishment for over 100 years that represented William Stanley Haseltine, Winslow Homer, William Morris Hunt, and Andrew Wyeth, among many other notable American painters, sculptors, and printmakers.

In 1870 Hendrickson retired and the gallery became Doll & Richards. After the untimely death of Doll in 1880, Richards purchased Doll's interest in the firm, retaining the gallery's well-known name. Under Richards' direction, the gallery prospered. Richards promoted the works of painter Winslow Homer, developing a market for his watercolors in Boston. He incorporated the gallery in 1902 and served as the treasurer and financier until his death in 1922 at 80 years old. The gallery then reorganized; Arthur McKean, who joined in 1911, became manager, and J.L. (Joe) Richards became treasurer. Fergus Turner, who joined the firm as a salesman in 1885 and became president in 1902, retained his role as president until 1938.

Over the century the gallery showcased contempory American artists, including William Morris Hunt, Dodge McKnight, William Stanley Haseltine, Laura Coombs Hills, Eliot O'Hara, Joseph Lindon Smith, Stanley Woodward, and Andrew Wyeth. The gallery also consigned paintings, prints, and objects from other major art galleries including Azeez Khayat Gallery, Kennedy Galleries, M. Knoedler and Co., Macbeth Gallery, Victor D. Spark, and Victor Waddington Galleries (Dublin, Ireland). According to long-time employee Wendell Zoehler (employed from 1929-1966), Doll & Richards' primary clientele came from the Social Register. In the summer months when wealthy Bostonians typically vacationed outside of the city, Doll & Richards remained open for tourists, many of whom became regular seasonal customers of the gallery.

The gallery experienced financial difficulties in the 1930s, leading to bankruptcy. Doll & Richards was purchased by McKean and incorporated in Maine in 1941. McKean sold Doll & Richards in 1962 to Maurice Goldberg; at this time none of the remaining family or staff were connected with the gallery. In 1973, the gallery was sold to Jeanne and Paul Sylva and closed.

Although the gallery always remained in the vicinity of Boston Common, it relocated numerous times over the years. In 1871 the gallery moved from 28 Summer Street to 145 Tremont Street. In 1878, the gallery remodeled and occupied the entire two-story building at 2 Park Street, renting out the second floor, known as the Hawthorne Room, for lectures. After thirty years on Park Street, Doll & Richards relocated to Newbury Street in 1908, beginning a succession of moves down Newbury Street approximately every twenty years, finally to 172 Newbury Street in 1962.
Related Material:
Among the other resources relating to the Doll & Richards gallery in the Archives of American Art is an oral history interview with Wendell Zoehler conducted by Robert Brown on April 14 and April 27, 1978.
Separated Material:
A daguerroteype of Gaetano Cardinal Bedini received with the records was transferred to the Smithsonian National Portrait Gallery on May 24, 2004.
Provenance:
The Doll & Richards records were donated to the Archives of American Art in numerous accessions between 1973 and 1979 by Jeanne and Paul Sylva, who purchased the gallery in 1973, and by former employee Wendell Zoehler.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Doll & Richards gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art, American  Search this
Art galleries, Commercial -- Massachusetts -- Boston  Search this
Art dealers -- Massachusetts -- Boston  Search this
Genre/Form:
Photographs
Scrapbooks
Financial records
Citation:
Doll & Richards gallery, 1863-1978, bulk 1902-1960s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dollrich
See more items in:
Doll & Richards gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-dollrich

Fourth Annual Millwood Hunt Horse show held at Framingham Centre, Mass- [photonegative]

Publisher:
Underwood & Underwood  Search this
Names:
Millwood Hunt Horse Show  Search this
Sprague, Elizabeth  Search this
Collection Creator:
Underwood & Underwood  Search this
Extent:
1 Item (4" x 5".)
Type:
Archival materials
Photographs
Place:
Framingham Centre (Framingham, Mass.)
Massachusetts
Date:
06/05/1926
Scope and Contents:
Caption: " Framingham Centre, Mass - The Fourth Annual Millwood Hunt Horse Show was held at Wavenly Farm, with more than 700 entries participating. Photo shows - Miss. Elizabeth Sprague, of 199 Commonwealth Avenue, Boston on Stonewall. (social register)"
Local Numbers:
RSN 18598

Video number 17906
General:
Company catalog card included.
U&U caption in file box: 2037-A204.
Currently stored in box 3.1.71 [227B].
Collection Restrictions:
Researchers should view the positive videodisc image first or locate the image in SIRIS on the World Wide Web. The original glass plate is available for inspection if necessary in the Archives Center.

A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment.,Contact David Haberstich, 633-3721.

Digital image files linked to item-level records in SIRIS Webpac.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Horses -- 1920-1930  Search this
Sports -- 1920-1930  Search this
Steeplechases  Search this
Genre/Form:
Photographs -- 1920-1930 -- Black-and-white negatives -- Glass.
Collection Citation:
Underwood &Underwood Glass Stereograph Collection, Archives Center, National Museum of American History.
See more items in:
Underwood & Underwood Glass Stereograph Collection
Underwood & Underwood Glass Stereograph Collection / Series 3: Underwood & Underwood glass plates / 3.1: Underwood and Underwood Negatives / RSN Numbers 18538-18639
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0143-ref15015

[Sun bathers on beach. Active no. 1254 : non-stereo photonegative.]

Publisher:
Underwood & Underwood  Search this
Names:
Dunham, Austin, Mrs.  Search this
Dunham, Samuel G., II  Search this
Lloyd, Horatio Gates Mr. Mrs.  Search this
Collection Creator:
Underwood & Underwood  Search this
Extent:
1 Item (4" x 5")
Type:
Archival materials
Photographs
Place:
Rhode Island
Watch Hill (Rhode Island)
Scope and Contents:
Printed caption on original envelope: SOCIETY AT WATCH HILL / WATCH HILL, R.I.--PHOTO SHOWS: Master Samuel G. Dunham II; Mrs. Austin Dunham; and Mrs. Gates Lloyd of Philadelphia on the beach at Watch Hill. / ...(SOCIAL REGISTER)..."
Local Numbers:
RSN 18869
General:
Currently stored in box 3.1.73 [220B].
Company catalog card included.
U&U caption on original envelope in file box.
Orig. no. A-1456.
Collection Restrictions:
Researchers should view the positive videodisc image first or locate the image in SIRIS on the World Wide Web. The original glass plate is available for inspection if necessary in the Archives Center.

A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment.,Contact David Haberstich, 633-3721.

Digital image files linked to item-level records in SIRIS Webpac.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Beaches -- Rhode Island  Search this
Children -- Rhode Island  Search this
Upper class -- 1920-1930 -- Rhode Island  Search this
Genre/Form:
Photographs -- 1920-1930 -- Black-and-white negatives -- Glass.
Collection Citation:
Underwood &Underwood Glass Stereograph Collection, Archives Center, National Museum of American History.
See more items in:
Underwood & Underwood Glass Stereograph Collection
Underwood & Underwood Glass Stereograph Collection / Series 3: Underwood & Underwood glass plates / 3.1: Underwood and Underwood Negatives / RSN Numbers 18868-18986
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0143-ref15286

Betty Parsons Gallery records and personal papers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974

Creator:
Jacques Seligmann & Co.  Search this
Subject:
Waegen, Rolf Hans  Search this
Glaenzer, Eugene  Search this
de Hauke, César  Search this
Seligmann, Jacques  Search this
Seligmann, René  Search this
Parker, Theresa D.  Search this
Mackay, Clarence Hungerford  Search this
Liechtenstein, House of  Search this
Schiff, Mortimer L.  Search this
Haardt, Georges  Search this
La Fresnaye, Roger de  Search this
Seligman, Germain  Search this
Arenberg  Search this
Seligmann, Arnold  Search this
Trevor, Clyfford  Search this
MM. Jacques Seligmann & fils  Search this
Eugene Glaenzer & Co  Search this
Gersel  Search this
Germain Seligmann & Co  Search this
De Hauke & Co., Inc  Search this
Topic:
Art  Search this
Gallery records  Search this
World War, 1939-1945  Search this
Art dealers  Search this
Art, European  Search this
Decorative arts  Search this
Art treasures in war  Search this
Art galleries, Commercial  Search this
Art, Renaissance  Search this
Record number:
(DSI-AAA_CollID)9936
(DSI-AAA_SIRISBib)212486
AAA_collcode_jacqself
Theme:
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212486
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Additional Online Media:

Mix Pictorial Magazine vol. 1 no. 3

Published by:
Mix Publishing Company, American  Search this
Edited by:
Morris G. Little  Search this
Arthur Chaney  Search this
Photograph by:
Oscar P. Davenport Jr.  Search this
Subject of:
Ella Fitzgerald, American, 1917 - 1996  Search this
NAACP Youth Council, American, founded 1936  Search this
Jeter-Pillars Orchestra, American, founded 1933  Search this
Medium:
ink on paper with metal
Dimensions:
H x W x D (Closed): 11 × 8 5/8 × 1/8 in. (28 × 21.9 × 0.3 cm)
H x W x D (Open): 11 × 17 1/4 × 1/16 in. (28 × 43.8 × 0.2 cm)
Type:
magazines (periodicals)
Place printed:
Saint Louis, Missouri, United States, North and Central America
Date:
October 1939
Topic:
African American  Search this
Business  Search this
Entertainers  Search this
Fashion  Search this
Journalism  Search this
Mass media  Search this
Musicians  Search this
Nightlife  Search this
Recreation  Search this
Urban life  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2013.46.25.273
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Collection title:
The Laura Cathrell Show-Down Magazine Collection
Classification:
Documents and Published Materials
Data Source:
National Museum of African American History and Culture
EDAN-URL:
edanmdm:nmaahc_2013.46.25.273
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Loose pages from a magazine about the Cotton Club

Written by:
Unidentified  Search this
Published by:
Unidentified  Search this
Photograph by:
James J. Kriegsmann, 1909 - 1994  Search this
Subject of:
Herman Stark, American, 1895 - 1981  Search this
Bill "Bojangles" Robinson, American, 1878 - 1949  Search this
Cab Calloway, American, 1907 - 1994  Search this
Unidentified Woman or Women  Search this
Unidentified Man or Men  Search this
Cotton Club, American, 1923 - 1940  Search this
Louis Sobol  Search this
New York Journal, American, 1895 - 1966  Search this
Medium:
ink on paper with metal
Dimensions:
H x W x D (2013.46.25.270a: Closed): 12 × 9 × 1/16 in. (30.5 × 22.8 × 0.1 cm)
H x W x D (2013.46.25.270a: Open): 12 × 17 15/16 × 1/16 in. (30.5 × 45.6 × 0.1 cm)
H x W x D (2013.46.25.270b): 11 15/16 × 9 × 1/16 in. (30.4 × 22.8 × 0.1 cm)
H x W x D (2013.46.25.270c): 12 × 8 15/16 × 1/16 in. (30.5 × 22.7 × 0.1 cm)
H x W x D (2013.46.25.270d): 12 × 8 15/16 × 1/16 in. (30.5 × 22.7 × 0.1 cm)
H x W x D (2013.46.25.270e: Closed): 12 × 9 × 1/16 in. (30.5 × 22.8 × 0.1 cm)
H x W x D (2013.46.25.270e: Open): 12 × 18 × 1/16 in. (30.5 × 45.7 × 0.1 cm)
Type:
portraits
magazines (periodicals)
Place captured:
New York City, New York, United States, North and Central America
Date:
ca. 1936
Topic:
African American  Search this
Actors  Search this
Dance  Search this
Entertainers  Search this
Jazz (Music)  Search this
Mass media  Search this
Nightlife  Search this
Photography  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2013.46.25.270a-e
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Collection title:
The Laura Cathrell Show-Down Magazine Collection
Classification:
Documents and Published Materials
Data Source:
National Museum of African American History and Culture
EDAN-URL:
edanmdm:nmaahc_2013.46.25.270a-e
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Social Register

Series Creator:
DeVincent, Sam, 1918-1997  Search this
Container:
Box 14, Folder UU
Type:
Archival materials
Date:
1934
Series Restrictions:
Collection is open for research.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
The Sam DeVincent Collection of Illustrated American Sheet Music, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Sam DeVincent Collection of Illustrated American Sheet Music, Series 6: Moving Pictures and Movie Stars
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0300-s06-ref639

Male Gorillas That Babysit End Up With Larger Brood of Their Own

Creator:
Smithsonian Magazine  Search this
Type:
Blog posts
Smithsonian staff publications
Blog posts
Published Date:
Tue, 16 Oct 2018 18:17:04 +0000
Topic:
Custom RSS  Search this
See more posts:
Smithsonian Article Database
Data Source:
Smithsonian Magazine
EDAN-URL:
edanmdm:posts_e70fd381a1824e41e26d5e05bcca361e

Du Bois, Guy P?¨ne, 3526CY: Social Register

Collection Creator:
Richard York Gallery  Search this
Container:
Box 19, Folder 8
Type:
Archival materials
Date:
1992, 1995
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Richard York Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Richard York Gallery records, circa 1865-2005, bulk 1981-2004. Archives of American Art, Smithsonian Institution.
See more items in:
Richard York Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-richyorg-ref1310

Sewing for joy: Ann Lowe

Creator:
National Museum of American History  Search this
Type:
Blog posts
Smithsonian staff publications
Blog posts
Published Date:
Fri, 09 Mar 2018 17:53:31 +0000
Topic:
American History  Search this
See more posts:
Blog Feed
Data Source:
National Museum of American History
EDAN-URL:
edanmdm:posts_acc2544d19cc292fbc6aef1465418b71

Social list of Washington, D.C

Title:
Green book
Physical description:
v. : ill. ; 24 cm
Type:
Periodicals
Directories
Place:
Washington (D.C.)
Date:
197u
Topic:
Social registers  Search this
Call number:
F193 .S668
AP1 .S668
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_725806

The best families : the Town & country social directory, 1846-1996 / by Jerry E. Patterson ; edited by Anthony T. Mazzola and Frank Zachary

Author:
Patterson, Jerry E  Search this
Mazzola, Anthony T  Search this
Zachary, Frank  Search this
Physical description:
188 p. : ill. ; 31 cm
Type:
Books
Biography
Place:
United States
Date:
1996
Topic:
Upper class families--Biography  Search this
Upper class families--Quotations, maxims, etc  Search this
Social registers  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_503685

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