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Folk Art and Folk Art Dealers

Collection Creator:
Cahill, Holger, 1887-1960  Search this
Container:
Reel 5292, Frame 0583-0670
Type:
Archival materials
Date:
1935, undated
Collection Restrictions:
The microfilm of this collection has been digitized and is available online via the Archives of American Art website.
Collection Rights:
The Holger Cahill 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.
Collection Citation:
Holger Cahill papers, 1910-1993, bulk 1910-1960. Archives of American Art, Smithsonian Institution.
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Holger Cahill papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-cahiholg-ref1010

Retail Fine Arts Trade (Art Dealers Code)

Collection Creator:
Kroll, Leon, 1884-1974  Search this
Container:
Box 4, Folder 2
Type:
Archival materials
Date:
1933-1934
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Leon Kroll 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.
Collection Citation:
Leon Kroll papers, 1905-1974. Archives of American Art, Smithsonian Institution.
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Leon Kroll papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-krolleon-ref245

Art Dealers Association of America, Inc.

Collection Creator:
Frank K. M. Rehn Galleries  Search this
Extent:
(6 folders)
Container:
Box 1, Reel 5850, Frame 642-1195
Type:
Archival materials
Date:
1962-1969
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Frank K. M. Rehn Galleries 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:
Frank K. M. Rehn Galleries records, 1858-1969 (bulk 1919-1968). Archives of American Art, Smithsonian Institution.
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Frank K. M. Rehn Galleries records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-franrehg-ref35

Miscellaneous A: Arnavon-Art Dealers Association of America

Collection Creator:
Jacques Seligmann & Co.  Search this
Container:
Box 10, Folder 23
Type:
Archival materials
Date:
1926-1974
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The records of Jacques Seligmann & Co. 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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
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Jacques Seligmann & Co. records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-jacqself-ref8896

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:

Borgenicht, Grace (art dealer)

Collection Creator:
Eva Lee Gallery  Search this
Container:
Box 1, Folder 36
Type:
Archival materials
Date:
1962
Collection 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.
Collection Rights:
The Eva Lee 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:
Eva Lee Gallery records, 1921-1973. Archives of American Art, Smithsonian Institution.
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Eva Lee Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-evalee-ref49

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:

Phyllis Diller’s Gag File

Manufacturer:
Art Steel Company, Inc.  Search this
Maker:
Diller, Phyllis  Search this
Art Steel Company, Inc.  Search this
Physical Description:
steel (overall material)
paper (overall material)
ink (overall material)
adhesive (overall material)
Measurements:
overall: 48 in x 40 in x 17 1/4 in; 121.92 cm x 101.6 cm x 43.815 cm
Object Name:
file
Place made:
United States: New York, New York City
Date made:
ca 1962 - 1994
Subject:
Humor  Search this
Comedians  Search this
Credit Line:
Gift of Phyllis Diller
ID Number:
2003.0289.01.01
Accession number:
2003.0289
Catalog number:
2003.0289.01.01
See more items in:
Cultural and Community Life: Entertainment
Popular Entertainment
Phyllis Diller
Data Source:
National Museum of American History
EDAN-URL:
edanmdm:nmah_1218385
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Artists Talk on Art records

Creator:
Artists Talk on Art  Search this
Names:
Barnet, Will, 1911-2012  Search this
Bourgeois, Louise, 1911-2010  Search this
Christo, 1935-  Search this
De Niro, Robert, 1922-1993  Search this
Denes, Agnes  Search this
Goldberg, Michael, 1924-  Search this
Jeanne-Claude, 1935-2009  Search this
Longo, Robert  Search this
Mendieta, Ana, 1948-1985  Search this
Morris, Robert, 1931-  Search this
Murray, Elizabeth, 1940-  Search this
Neel, Alice, 1900-1984  Search this
Pavia, Philip, 1915-2005  Search this
Sleigh, Sylvia  Search this
Wilke, Hannah  Search this
Wojnarowicz, David  Search this
Extent:
64.4 Linear feet
43.9 Terabytes
Type:
Archival materials
Collection descriptions
Terabytes
Photographs
Sound recordings
Scrapbooks
Transcripts
Video recordings
Date:
circa 1974-2018
Summary:
The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 43.9 terabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City from 1975 to 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.
Scope and Contents:
The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 43.9 terabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City from 1975 to 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.

ATOA's recordings chronicle the American art world, covering critical discussions and significant art world issues over five decades. Thousands of artists such as Will Barnet, Louise Bourgeois, Christo and Jeanne-Claude, Robert De Niro, Agnes Denes, Michael Goldberg, Robert Longo, Ana Mendieta, Robert Morris, Elizabeth Murray, Alice Neel, Philip Pavia, Larry Rivers, Sylvia Sleigh, Hannah Wilke, David Wojnarowicz, and others speak about their work. The original recordings exist in a variety of formats, including U-Matic and VHS videotape, MiniDVs, sound cassettes and sound tape reels. ATOA digitized the complete collection of video and sound recordings and the digital files are now part of the collection.

The collection also includes printed histories, board and program committee meeting minutes, financial statements, general correspondence files of the president and chair, attendance statistics, grant files, panel participant release forms, sixteen panel transcripts, a complete set of panel flyers (many are annotated) and other printed materials, three dismantled scrapbooks, as well as photographs, slides, and negatives of panels and panel participants.
Arrangement:
The records are arranged into nine series.

Series 1: Adminstrative Files, 1974-2013 (0.4 linear feet, Box 1)

Series 2: Director's and Chairman's Correspondence, 1977-2006 (0.4 linear feet, Box 1)

Series 3: Grant Files, 1977-2009 (1 linear foot, Boxes 1-2)

Series 4: Panel Release Forms, 1978-2012 (1 linear foot, Boxes 2-3)

Series 5: Panel Transcripts, 1981, 1986, 1988, 2017-2018 (1 folder, Box 3; 1.8 megabytes, ER01)

Series 6: Printed Materials, 1975-2015 (0.8 linear feet, Boxes 3-4; 44.4 megabytes, ER02)

Series 7: Scrapbooks, 1975-1989 (0.2 linear feet, Box 4)

Series 8: Photographic Materials, circa 1975-circa 2000 (1 linear foot, Boxes 4-5)

Series 9: Video and Sound Recordings, circa 1975-2017 (59 linear feet, Boxes 6-65; 43.9 terabytes, ER03-06)
Biographical / Historical:
Established in 1974 and still active in New York, Artists Talk on Art is the art world's longest running and most prolific aesthetic panel discussion series organized by artists for artists. Founded by Lori Antonacci, Douglas I. Sheer, and Robert Wiegand, the forum has presented 6,000 artists in nearly 1,000 documented panels or dialogues. ATOA held its first panel, "Whatever Happened to Public Art," on January 10, 1975 and it drew a "crowd" of 77 people. In the decades that followed, ATOA presented dozens of panels or dialogues a year, tackling such diverse topics as "What is Happening with Conceptual Art," with Louise Lawler and Lawrence Weiner; "Painting and Photography: Defining the Difference," with Sarah Charlesworth, Jack Goldstein, Joseph Kosuth, Barbara Kruger, and Robert Mapplethorpe; "Organizing Arts Activism," with Lucy Lippard; "The Artist and the Epidemic—an information panel about AIDS"; "Cross-generational Views of Feminism"; and hundreds more.
Provenance:
The Artists Talk on Art (ATOA) records, including digital files of the video and sound recordings, were donated to the Archives in 2016 by Douglas Sheer, Chairman of ATOA.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Use of digitized recordings and other electronic records requires advance notice.
Rights:
The Artists Talk on Art records are owned by the Archives of American Art, Smithsonian Institution. Any literary rights 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 critics  Search this
Art dealers  Search this
Art historians  Search this
Artists  Search this
Historians  Search this
Genre/Form:
Photographs
Sound recordings
Scrapbooks
Transcripts
Video recordings
Citation:
Artists Talk on Art records, circa 1974-2018. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.artitalk
See more items in:
Artists Talk on Art records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-artitalk
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Additional Online Media:

Medieval and Eighteenth Century Art - Dealer's Files

Collection Creator:
Barnard, George Grey, 1863-1938  Search this
Container:
Box 9, Folder 13
Type:
Archival materials
Date:
circa 1905-1938
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The George Grey Barnard 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.
Collection Citation:
George Grey Barnard papers, circa 1860-1969, bulk 1880-1938. Archives of American Art, Smithsonian Institution.
See more items in:
George Grey Barnard papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-barngeor-ref241

Medieval and Eighteenth Century Art - Dealer's Files

Collection Creator:
Barnard, George Grey, 1863-1938  Search this
Container:
Box 9, Folder 14
Type:
Archival materials
Date:
circa 1905-1938
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The George Grey Barnard 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.
Collection Citation:
George Grey Barnard papers, circa 1860-1969, bulk 1880-1938. Archives of American Art, Smithsonian Institution.
See more items in:
George Grey Barnard papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-barngeor-ref430

An Art Dealer Just Found a Forgotten Monet Pastel Hidden Behind Another Drawing

Creator:
Smithsonian Magazine  Search this
Type:
Blog posts
Smithsonian staff publications
Blog posts
Published Date:
Thu, 25 Jun 2015 12:00:00 +0000
Topic:
Search this
See more post:
Smithsonian Article Database
Data Source:
Smithsonian Magazine
EDAN-URL:
edanmdm:posts_55af32e81622ae83e4dc1e7495e4f4e2

Handwritten Diary

Collection Creator:
Craton, Forman H., 1902-1983  Search this
Container:
Box 2, Folder 6-8
Type:
Archival materials
Date:
1940
Collection Restrictions:
Collection is open for research.
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.
Collection Citation:
Forman H. Craton Collection, 1902-1983, Archives Center, National Museum of American History.
See more items in:
Forman H. Craton Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0454-ref265
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The Warner Report, 1915

Creator:
Warner, Langdon 1881-1955  Search this
Subject:
Warner, Langdon 1881-1955  Search this
Physical description:
Two copies of a bound volume of 226 typed pages, with 48 mounted silver gelatin prints with captions, 194p. ; 29 x 22 cm
Type:
Reports
Collection descriptions
Photographs
Place:
China
Japan
Angkor Wat (Cambodia)
Date:
1915
Topic:
Archaeology  Search this
Art, Asian--Collectors and collecting  Search this
Local number:
FSA A1994.07
Restrictions & Rights:
Access is by appointment only, Monday through Thursday 10:00 a.m. to 5:00 p.m. Please contact the Archives to make an appointment: AVRreference@si.edu
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
edanmdm:siris_arc_283452
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Additional Online Media:

Letters between Charles Lang Freer and Seaouke Yue (You Xiaoxi), 1917-1919

Creator:
Freer, Charles Lang 1856-1919  Search this
Yue, Seaouke  Search this
Subject:
Pang Yuanji 1864-1949  Search this
Physical description:
6 folders of correspondence
Type:
Letters (correspondence)
Date:
1917
1917-1919
Topic:
Art, Chinese  Search this
Local number:
FSA A.01 02.1Yue
Restrictions & Rights:
Access is by appointment only, Monday through Thursday 10:00 a.m. to 5:00 p.m. Please contact the Archives to make an appointment: AVRreference@si.edu
Permission to publish, quote, or reproduce must be secured from the repository
See more items in:
Charles Lang Freer Papers, Correspondence
Charles Lang Freer Papers 1856-1919
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
edanmdm:siris_arc_381753
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Edward Milch [photograph] / (photographed by Peter A. Juley & Son)

Photographic firm:
Peter A. Juley & Son  Search this
Photographer:
Juley, Paul 1890-1975  Search this
Subject:
Milch, Edward  Search this
Type:
Photograph
Date:
1931
Topic:
Portrait male--Waist length  Search this
Occupation--Art--Art Dealer  Search this
Image number:
JUL J0103490
See more items in:
Photograph Archives
Data Source:
Archives and Special Collections, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_103491

Albert Milch [photograph] / (photographed by Peter A. Juley & Son)

Photographic firm:
Peter A. Juley & Son  Search this
Photographer:
Juley, Paul 1890-1975  Search this
Subject:
Milch, Albert  Search this
Type:
Photograph
Date:
1931
Topic:
Portrait male--Knee length  Search this
Occupation--Art--Art Dealer  Search this
Image number:
JUL J0103493
See more items in:
Photograph Archives
Data Source:
Archives and Special Collections, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_103494

Edward Milch [photograph] / (photographed by Peter A. Juley & Son)

Photographic firm:
Peter A. Juley & Son  Search this
Photographer:
Juley, Paul 1890-1975  Search this
Subject:
Milch, Edward  Search this
Type:
Photograph
Date:
1931
Topic:
Portrait male--Waist length  Search this
Occupation--Art--Art Dealer  Search this
Image number:
JUL J0103495
See more items in:
Photograph Archives
Data Source:
Archives and Special Collections, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_103496

Robert Macbeth [photograph] / (photographed by Peter A. Juley & Son)

Photographic firm:
Peter A. Juley & Son  Search this
Subject:
Macbeth, Robert  Search this
Type:
Photograph
Topic:
Portrait male--Waist length  Search this
Occupation--Art--Art Dealer  Search this
Image number:
JUL J0001964
See more items in:
Photograph Archives
Data Source:
Archives and Special Collections, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_1964

Ahda Artzt (?) [photograph] / (photographed by Peter A. Juley & Son)

Photographic firm:
Peter A. Juley & Son  Search this
Photographer:
Juley, Paul 1890-1975  Search this
Subject:
Artzt, Ahda  Search this
Type:
Photograph
Topic:
Portrait female--Bust  Search this
Occupation--Art--Art Dealer  Search this
Image number:
JUL J0025724
See more items in:
Photograph Archives
Data Source:
Archives and Special Collections, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_25725

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