The records of the B. C. Holland Gallery measure 2.1 linear feet and date from 1942-1991 (bulk dates 1959-1965). Founded in Chicago, Illinois by Bud C. Holland and Noah Goldowsky, the collection documents over 98 artists associated with the gallery. Documentation includes invoices, correspondence between artists and gallery owners, price lists, exhibition catalogs and print materials, magazine and newspaper clippings, photographs, and slides, and some business records of the gallery.
Scope and Contents:
The records of the B. C. Holland Gallery measure 2.1 linear feet and date from 1942-1991 (bulk dates 1959-1965). Founded in Chicago, Illinois by Bud C. Holland and Noah Goldowsky, the collection documents over 98 artists associated with the gallery. Documentation includes invoices, correspondence between artists and gallery owners, price lists, exhibition catalogues and print materials, magazine and newspaper clippings, photographs, and slides, and some business records of the gallery.
Artists of note include: Harry Bouras, Paul Burlin, Mary Callery, Elaine de Kooning, Willem de Kooning, Jean Dubuffet, Edward Dugmore, Roland Ginzel (including 2 ink drawings), Michael Goldberg, Robert Goodnough, Joseph Goto, Philip Guston, Julius Hatofsky, Richard Hunt (includes 18 files and a landscape plan of John J. Madden Clinic sculpture installation), Lester Johnson, Ellen Lanyon, Alfred Leslie, Jacques Lipchitz, Michael Loew, Knox Martin, Dennis Oppenheim, Stephen Pace, Milton Resnick, Larry Rivers, Aaron Siskind, George Spaventa, Saul Steinberg, Jack Tworkov, and Estaban Vicente.
The collection is arranged as 2 series.
Series 1: Artist files, 1942-1991 (2.1 linear feet; Boxes 1-2, OV 3)
Series 2: Business records, 1961-1963 (1 folder; Box 2)
Biographical / Historical:
B. C. Holland Gallery (1957-1994) was founded by Bud C. Holland and Noah Goldowsky, and was initially known as the Holland-Goldowsky Gallery. It held exhibitions and sold artwork for Chicago artists and many artists of the New York School. Holland bought out his partner and renamed the gallery the B. C. Holland Gallery in August 1961. The gallery closed upon Holland's death in 1994.
Bud C. Holland entered the jewelry business, after serving in WWII as a bomber pilot, where he began collecting artwork. He opened his first art gallery in 1957. During the 1960s pop trend, Holland was drawn towards abstract expressionism and other art forms, which he focused on in his gallery. He began selling his collection when he was diagnosed with cancer, and died at 72 in Chicago, Illinois, 29 December 1994.
The B. C. Holland Gallery records were donated to the Archives of American Art by Bud C. Holland's widow, Claire Y. Holland, in 1995.
Use of original papers requires an appointment.
The B. C. Holland 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.
The C. J. (Clarence Joseph) Bulliet papers measure 34.6 linear feet and are dated circa 1888-1959. Biographical materials, correspondence, writings, subject and artist files, printed material, photographs, and artwork document the career of the influential Chicago art critic and writer. The records contain extensive information about art and artists in Chicago and the Midwest from the early to mid-twentieth century.
Scope and Content Note:
The C. J. Bulliet papers measure 34.6 linear feet and are dated circa 1888-1959. Biographical materials, correspondence, writings, subject and artist files, printed material, photographs, and artwork document the career of the influential Chicago art critic and writer. The records contain extensive information about art and artists in Chicago and the Midwest from the early to mid-twentieth century.
Biographical materials, circa 1888-1952, about C. J. Bulliet and his artist wife, Katherine Adams Bulliet, include Adams family genealogy, biographical notes, inventory and notes about Bulliet's art collection, miscellaneous items, and photographs. Photographs include portraits of C. J. Bulliet as a young child, and photographs around the time of his graduation from Indiana University. Other photographs are group shots of Bulliet with Mrs. Bulliet, Millard Sheets, Mr. and Mrs. Peyton Boswell, Jr., James Chapin, the Chicago Daily News staff, and other Chicago art critics.
Correspondence, 1901-1942, documents Bulliet's professional and personal life. Professional correspondence provides a good overview of the art scene, activities, and attitudes in Chicago during the 1930s and 1940s. Many letters from newspaper readers contain both positive and negative reactions to his columns. Personal correspondence consists mainly of letters Bulliet wrote to his wife while on the road with Robert Mantell and his Shakespeare company. Other personal correspondence is with friends and relatives, and includes some letters addressed to Katherine Adams Bulliet.
Writings, 1929-1951, consist of notes, drafts, and final manuscripts of published and unpublished articles and essays, books, fiction and poems, lectures, and reviews by C. J. Bulliet. A small number of manuscripts are by other authors.
Artist files, 1919-1952, document a wide variety of artists from the Renaissance through the mid-twentieth century. Artists represented are American, European, and Asian; of particular interest are files relating to Chicago area artists, both well known and obscure. They consist largely of photographs of works of art and a small number of photographs of artists. A small percentage includes correspondence, notes and drafts of texts by Bulliet, printed material, and a few original prints.
Subject files, 1909-1952, concern topics that interested Bulliet. They consist mainly of photographs and printed material, with a small amount of correspondence.
Printed material, 1909-1959, by Bulliet consists of newspaper articles and columns, books, and reviews of art, books, and music. Items produced by others include books, clippings, museum and art school publications, periodicals, and press releases. Exhibition related items, consisting of announcements, invitations, catalogs, checklists, and prospectuses, are categorized by venues - Chicago and elsewhere.
Art work, 1916-1948, mainly by Chicago area artists, consists of prints, drawings, and a sketchbook, most likely given to Bulliet by the artists themselves.
Series 2: Correspondence, Series 4: Artist Files, Series 5: Subject Files, and Series 7: Artwork are arranged alphabetically. Other series, organized by record type, are arranged chronologically within each category, as noted in the series descriptions/container listing below.
The collection is arranged into 7 series:
Series 1: Biographical Materials, circa 1888-1952 (Box 1; 6 folders)
Series 2: Correspondence, 1901-1952 (Boxes 1-2; 2 linear ft.)
Series 3: Writings, 1929-1951 (Boxes 3-4; 2 linear ft.)
Series 4: Artist Files, 1919-1952 (Boxes 5-24; 20 linear ft.)
Series 5: Subject Files, 1909-1952 (Boxes 25-27, 37; 2.3 linear ft.)
Series 6: Printed Material, 1909-1959 (Boxes 27-34, 36-37; 7.7 linear ft.)
Series 7: Artwork, 1916-1948 (Boxes 35, 38, OV 39; 0.6 linear ft.)
Known for his support of modernism, C. J. Bulliet spent the majority of his long newspaper career in Chicago. Born Clarence Joseph Bulleit in Corydon, Indiana, he studied English, astronomy, and mathematics at Indiana University. After graduating in 1905, he became a member of the Indiana University Total Eclipse Expedition to Spain in its search for a planet within Mercury's orbit. During World War I the spelling to Bulliet was changed to avoid any connection with Germany.
Upon returning to the United States, Bulliet began his newspaper career as a reporter for the Louisville Herald, soon moved to the Indianapolis Star as a police reporter, and eventually was named its drama critic. Between 1912 and 1921, he traveled extensively throughout the country as a press agent for Shakespearean actor Robert B. Mantell. During this period, he published his first book, a biography titled Robert Mantell's Romance. World War I interrupted Mantell's tour for two years, during which time Bulliet was press representative for D. W. Griffith's Birth of a Nation. He returned to the Louisville Herald for two years before moving to Chicago.
In 1923, the Chicago Evening Post established "The Art World Magazine," a weekly tabloid section reporting local, national, and international art news. C.J. Bulliet became the magazine's first (and only) editor. In addition, he served as the paper's drama critic. When the Chicago Evening Post was sold in 1932, becoming the Chicago Daily News, Bulliet was appointed its art critic. Although Bulliet was an experienced reporter, writer, and editor with a broad general knowledge of theater and drama, he had virtually no background in art or art history. An avid reader, he was determined to learn as much as he could, and managed to make himself an expert in a relatively short time. From 1924 until his death in 1952, C. J. Bulliet was the most important art critic in Chicago. His strong support of modernism and the gossipy, entertaining style of his columns made him a popular and controversial figure with great local influence on public opinion, exhibitions, and patronage. In addition to his work on the Chicago newspapers, C. J. Bulliet contributed articles to Art Digest, the New York Times, and other national publications.
Once established as an art editor and critic, C. J. Bulliet began writing extensively on art, and published many books on the subject for general readers. The first, Apples and Madonnas: Emotional Expression in Modern Art (1927), was extremely well-received and remained in print through many editions. Other titles include: Tour of the Exhibition of the Works of Alexander Archipenko (1927), The Courtezan Olympia: An Intimate Survey of Artists and their Mistress-Models (1930), Art Masterpieces: In a Century of Progress Fine Art Exhibition at the Art Institute of Chicago (1933), Paintings, An Introduction to Art (1934); The Significant Moderns and Their Pictures (1936), Masterpieces of Italian Art (1939), French Art from David to Matisse: As Set Forth in 20 Masterpieces of the French Exhibit at the Art Institute of Chicago (1941), Art Treasures from Vienna (1949), and The Story of Lent in Art (1951). He published books on other subjects, as well. In addition to his 1918 biography of Robert B. Mantell, they are: Venus Castina: Famous Female Impersonators, Celestial and Human (1933) and How Grand Opera Came to Chicago (1940-1941).
The papers were donated to the Archives in 1984 by C. J. Bulliet's son, Lender J. Bulliet. Additional records were given by Rockford College, Rockford, Illinois, in 1987.
Use of original papers requires an appointment.
The C. J. Bulliet 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.
The papers of art historian, dealer, critic, and curator Katharine Kuh measure 12 linear feet and date from 1875-1994, with the bulk of the material dating from 1930-1994. The collection documents Kuh's career as a pioneer modernist art historian and as the first woman curator of European Art and Sculpture at the Art Institute of Chicago. Found within the papers are biographical material; correspondence with family, friends and colleagues; personal business records; artwork by various artists; a travel journal; writings by Kuh and others; scrapbooks; printed material; photographs of Kuh and others; and audio recordings of Kuh's lectures and of Daniel Catton Rich reading poetry.
Scope and Content Note:
The papers of art historian, dealer, critic, and curator Katharine Kuh measure 12 linear feet and date from 1875-1994, with the bulk of the material dating from 1930-1994. Found within the papers are biographical material; correspondence with family, friends and colleagues; personal business records; artwork by various artists; a travel journal; writings by Kuh and others; scrapbooks; printed material; photographs of Kuh and others; and audio recordings of Kuh's lectures and of Daniel Catton Rich reading poetry.
Biographical material consists of copies of Kuh's birth certificate, resumés, passports, award certificates, honorary diplomas, and address books listing information about several prominent artists and colleagues.
Four linear feet of correspondence offers excellent documentation of Kuh's interest in art history, her travels, her career at the Art Institute of Chicago, her work as a corporate art advisor, and as an author. There are letters from her mother Olga Woolf, friends, and colleagues. There is extensive correspondence with various staff members of the Art Institute of Chicago, the First National Bank of Chicago, and The Saturday Review. Also of interest are letters from artists and collectors, several of whom became life-long friends including Walter and Louise Arensberg, Cosmo Campoli, Serge Chermayeff, Richard Cox, Worden Day, Claire Falkenstein, Fred Friendly, Leon Golub, Joseph Goto, David Hare, Denise Brown Hare, Jean Hélion, Ray Johnson, Gyorgy and Juliet Kepes, Len Lye, Wallace Putnam, Kurt Seligmann, Shelby Shackelford, Hedda Sterne, and Clyfford Still. Many letters are illustrated with original artwork in various media.
There are also scattered letters from various artists and other prominent individuals including Josef Albers, George Biddle, Marcel Breuer, Joseph Cornell, Stuart Davis, Edwin Dickinson, Joseph Hirshhorn, Daniel Catton Rich, and Dorothea Tanning.
Personal business records include a list of artwork, Olga Woolf's will, inventories of Kuh's personal art collection, miscellaneous contracts and deeds of gift, receipts for the sale of artwork, files concerning business-related travel, and miscellaneous receipts.
Artwork in the collection represents a wide range of artist friends and media, such as drawings, watercolors, paintings, collages, and prints. Included are works by various artists including lithographs by David Hare and a watercolor set, Technics and Creativity, designed and autographed by Jasper Johns for the Museum of Modern Art, 1970.
Notes and writings include annotated engagement calendars, travel journals for Germany, a guest book for the Kuh Memorial gathering, and many writings and notes by Kuh for lectures and articles concerning art history topics. Of interest are minutes/notes from meetings for art festivals, conferences, and the "Conversations with Artists Program (1961). Also found are writings by others about Kuh and other art history topics.
Six scrapbooks contain clippings that document the height of Kuh's career as a gallery director and museum curator. Scrapbook 6 contains clippings about Fernand Léger, the subject of a retrospective exhibition at the Art Institute of Chicago in 1953.
Additional printed material includes clippings about Kuh and her interests, a comprehensive collection of clippings of Kuh's articles for The Saturday Review, exhibition announcements and catalogs, calendars of events, programs, brochures, books including Poems by Kuh as a child, and reproductions of artwork. Of particular interest are the early and exhibition catalogs from the Katharine Kuh Gallery, and rare catalogs for artists including Jean Arp, Alexander Calder, Marc Chagall, Jean Dubuffet, Marcel Duchamp, Stanley William Hayter, Hans Hofmann, Wassily Kandinsky, Paul Klee, Franz Kline, Le Corbusier, Ludwig Mies van der Rohe, and Pablo Picasso.
Photographs provide important documentation of the life and career of Katharine Kuh and are of Kuh, family members, friends, colleagues, events, residences, and artwork. Several of the photographs of Kuh were taken by Will Barnet and Marcel Breuer and there is a notable pair of photo booth portraits of Kuh and a young Ansel Adams. There are also group photographs showing Angelica Archipenko with Kuh; designer Klaus Grabe; painters José Chavez Morado and Pablo O'Higgins in San Miguel, Mexico; Kuh at the Venice Biennale with friends and colleagues including Peggy Guggenheim, Frances Perkins, Daniel Catton Rich, and Harry Winston; and "The Pre-Depressionists" including Lorser Feitelson, Robert Inverarity, Helen Lundeberg, Arthur Millier, Myron Chester Nutting, and Muriel Tyler Nutting.
Photographs of exhibition installations and openings include views of the Katharine Kuh Gallery; Fernand Léger, Man Ray, and László Moholy-Nagy at the Art Institute of Chicago; and Philip Guston, Jimmy Ernst, Seymour H. Knox, Franz Kline, Robert Motherwell, and Mark Rothko at the Albright-Knox Art Gallery in Buffalo, New York. There are also photographs depicting three men posing as Léger's "Three Musicians" and the visit of Queen Elizabeth II to the Art Institute of Chicago. There is a photograph by Peter Pollack of an elk skull used as a model by Georgia O'Keeffe.
Additional photographs of friends and colleagues include Ivan Albright, Alfred Barr, Alexander Calder, Marc Chagall, Willem De Kooning, Edwin Dickinson, Marcel Duchamp, Claire Falkenstein, Alberto Giacometti, poet Robert Graves with Len Lye, Philip Johnson, Gyorgy and Juliet Kepes, Carlos Mérida, José Orozco, Hasan Ozbekhan, Pablo Picasso, Carl Sandberg, Ben Shahn, Otto Spaeth, Hedda Sterne, Adlai Stevenson, Clyfford Still, Mark Tobey, and composer Victor Young.
Photographs of artwork include totem poles in Alaska; work by various artists including Claire Falkenstein, Paul Klee, and Hedda Sterne; and work donated to the Guggenheim Museum.
Four audio recordings on cassette are of Katharine Kuh's lectures, including one about assembling corporate collections, and of Daniel Catton Rich reading his own poetry. There is also a recording of the Second Annual Dialogue between Broadcasters and Museum Educators.
The collection is arranged as 9 series. Undated correspondence, artwork, and photographs of individual artists are arranged alphabetically. Otherwise, each series is arranged chronologically.
Series 1: Biographical Material, 1945-1992 (Box 1; 16 folders)
Series 2: Correspondence, 1908-1994 (Boxes 1-5, 13-14, OV 15; 4.0 linear feet)
Series 3: Personal Business Records, 1941-1989 (Box 5; 19 folders)
Series 4: Artwork, 1931-1986 (Boxes 5, 13-14, OVs 15-23; 1.7 linear feet)
Series 5: Notes and Writings, 1914-1994 (Boxes 5-7; 1.7 linear feet)
Series 6: Scrapbooks, 1935-1953 (Box 7; 8 folders)
Series 7: Printed Material, 1916-1992 (Boxes 7-10, 13, OV 22; 3.0 linear feet)
Series 8: Photographs, 1875-1993 (Boxes 10-13; 1.2 linear feet)
Series 9: Audio Recordings, 1977 (Box 12; 1 folder)
Katharine Kuh (1904-1994) worked primarily in the Chicago area as an modern art historian, dealer, critic, curator, writer, and consultant. She operated the Katharine Kuh Gallery from 1935-1943 and was the first woman curator of European and Art and Sculpture at the Art Institute of Chicago.
Katharine Kuh (née Woolf) was born on July 15, 1904 in St. Louis, Missouri, the youngest of the three daughters of Olga Weiner and Morris Woolf, a silk importer. In 1909, the family moved to Chicago, Illinois. While traveling with her family in Europe in 1914, Katharine contracted polio, causing her to spend the next decade in a body brace. During this time of restricted movement, she developed an interest in art history through the collecting of old master prints.
After her recovery, Katharine Woolf attended Vassar College where one of her professors, Alfred Barr, encouraged her to study modern art. She graduated from Vassar in 1925 and received a master's degree in art history from the University of Chicago in 1929. Later that year, she moved to New York to pursue a Ph.D. in Renaissance and medieval art at New York University.
In 1930, Katharine Woolf returned to Chicago and married businessman George Kuh and began to teach art history courses in the suburbs of Chicago. After divorcing George Kuh in 1935, she opened the Katharine Kuh Gallery, the first gallery devoted to avant-garde art in Chicago. It was also the first gallery to exhibit photography and typographical design as art forms, and featured the work of Ansel Adams, Josef Albers, Alexander Calder, Wassily Kandinsky, Fernand Léger, and Man Ray, among others. From 1938 to1940, Kuh was the Visiting Professor of Art at the University School of Fine Arts, San Miguel, Mexico.
After the Katharine Kuh Gallery closed in 1943, Kuh was hired by museum director Daniel Catton Rich to fill a position in public relations at the Art Institute of Chicago. During the following years, Kuh edited the museum's Quarterly publication, took charge of the museum's Gallery of Interpretive Art, and began a long term relationship with Rich. In 1946, Kuh was sent on a special mission for the U. S. Office of Indian Affairs to make a detailed study of Native American totemic carvings in Alaska.
In 1949, Kuh persuaded Mr. and Mrs. Walter Arensberg of Los Angeles to exhibit their collection of modern art, creating the first post-war exhibition of modern art in Chicago. She published her first book Art Has Many Faces in 1951, and in the following year, she began writing art criticism for The Saturday Review. In 1954, Kuh was appointed the first woman curator of European Art and Sculpture at the Art Institute. She assembled the American contribution for the Venice Biennale in 1956 and during these years, Kuh helped acquire many of the works of modern art currently in the museum's collection.
A year following Daniel Catton Rich's 1958 resignation from the Art Institute of Chicago, Kuh also resigned and pursued a career in New York as an art collection advisor, most notably for the First National Bank of Chicago. In 1959, Kuh was made art critic for The Saturday Review, and she continued to publish books, including The Artist's Voice in 1962, Break-Up: The Core of Modern Art in 1965, and The Open Eye: In Pursuit of Art in 1971.
Katharine Kuh died on January 10, 1994 in New York City.
The Katharine Kuh papers were donated in several installments from 1971 to 1989 by Katharine Kuh and in 1994 by her estate. Artwork was donated in 1995 by Kuh's former employer, the Art Institute of Chicago.
Authorization to quote, publish or reproduce requires written permission until 2019. Contact the Archives of American Art Reference Services department for additional information.
The Katharine Kuh 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.
A home for surrealism : fantastic painting in midcentury Chicago / edited by Janine Mileaf and Susan F. Rossen ; contributions by Robert Cozzolino, Adam Jolles, Janine Mileaf, Joanna Pawlik, and Marin Sarvé-Tarr
Beautiful! : Ellen Lanyon, Buzz Spector, Roland Ginzel, Claire Prussian, Richard Loving, Owen McHugh, Stephen Hartman, Phyllis MacDonald, Claire Wolf Krantz, Barbara Lazarus Metz / organized by Claire Wolf Krantz and Barbara Lazarus Metz
Life, death, love, hate, pleasure, pain : selected works from the Museum of Contemporary Art, Chicago, collection / Elizabeth A.T. Smith, Alison Pearlman, Julie Rodrigues Widholm ; foreword, Robert Fitzpatrick