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Brassaï, 1899-1984 [Folder]

Additional name:
Halasz, Gyula  Search this
Brassaí, Gyula Halász  Search this
Contents:
Folder(s) may include exhibition announcements, newspaper and/or magazine clippings, press releases, brochures, reviews, invitations, illustrations, resumes, artist's statements, exhibition catalogs.
Topic:
Artists  Search this
Location:
Art & Artist files at the Smithsonian American Art Museum/ National Portrait Gallery Library
Data source:
Smithsonian Libraries
EDAN-URL:
edanmdm:SILAF_28045

Henry Miller

Artist:
Gyula Halász Brassaï, 1899 - 1984  Search this
Sitter:
Henry Miller, 26 Dec 1891 - 7 Jun 1980  Search this
Medium:
Gelatin silver print
Dimensions:
Image/Sheet: 38.5cm x 29.4cm (15 3/16" x 11 9/16")
Type:
Photograph
Place:
France\Île-de-France\Ville de Paris, Départment de\Paris
Date:
1930-1934
Topic:
Interior  Search this
Costume\Dress Accessory\Eyeglasses  Search this
Artwork\Photograph  Search this
Equipment\Smoking Implements\Cigarette  Search this
Costume\Headgear\Hat\Fedora  Search this
Henry Miller: Visual Arts\Artist  Search this
Henry Miller: Male  Search this
Henry Miller: Literature\Writer\Novelist  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution
Object number:
NPG.96.81
Restrictions & Rights:
© Brassai Estate (Madam Brassai), Paris
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
EDAN-URL:
edanmdm:npg_NPG.96.81

Robert Schoelkopf Gallery records

Creator:
Robert Schoelkopf Gallery  Search this
Names:
Zabriskie Gallery  Search this
Andrejevic, Milet, 1925-  Search this
Aponovich, James, 1948-  Search this
Bailey, William, 1930-  Search this
Bell, Leland  Search this
Brassaï, 1899-  Search this
Cameron, Julia Margaret Pattle, 1815-1879  Search this
Cartier-Bresson, Henri, 1908-  Search this
Cornell, Joseph  Search this
Dawson, Manierre, 1887-1969  Search this
Driggs, Elsie, 1898-1992  Search this
Erlebacher, Martha Mayer  Search this
Evans, Walker, 1903-1975  Search this
Fiske, Gertrude, 1878-1961  Search this
Freund, Gisèle  Search this
Horton, William S., 1865-1936  Search this
Ito, Miyoko, 1918-1983  Search this
Lachaise, Gaston, 1882-1935  Search this
Laderman, Gabriel, 1929-  Search this
Ligare, David  Search this
Matthiasdottir, Louisa  Search this
Matulka, Jan, 1890-1972  Search this
Myers, Ethel  Search this
Nadelman, Elie, 1882-1946  Search this
Schoelkopf, Robert J., 1927-1991  Search this
Stella, Joseph, 1877-1946  Search this
Storrs, John Henry Bradley, 1885-1956  Search this
Wiesenfeld, Paul  Search this
Extent:
29 Linear feet
Type:
Archival materials
Collection descriptions
Gallery records
Illustrated letters
Photographs
Date:
1851-1991
bulk 1962-1991
Summary:
The collection comprises 29 linear feet of records that document the day-to-day administration of the Robert Schoelkopf Gallery from 1962 to 1991, with additional items predating the founding of the gallery from 1851 to 1961. The collection records artist and client relations, exhibitions, and daily business transactions through artist files, correspondence, printed matter, and photographic material.
Scope and Content Note:
The records of the Robert Schoelkopf Gallery comprise 29 linear feet of material from 1851 to 1991, with some items predating the founding of the gallery. The bulk of the records date from 1962 to 1991, providing researchers with fairly comprehensive coverage of the gallery's development and operations from its inception in 1962 until its closure in 1991. Items dated prior to 1962 relate principally to the period of transition during which Robert Schoelkopf ended his partnership with the Zabriskie Gallery and established his own business. There are also some items relating to artists of the nineteenth and early twentieth century.

The collection consists primarily of artist files documenting relations with contemporary artists, representation of deceased artists, and other works of art handled by the gallery. It also chronicles the gallery's exhibition schedule and the day-to-day administration of the business. The types of material that can be found here include correspondence, exhibition inventories, price lists, accounting and consignment records, shipping and insurance records, printed material, and photographs.

The collection is a valuable source of information on twentieth-century American art history, focusing primarily on early-twentieth-century modernists as well as an important group of American realist painters and sculptors from the latter half of the century. The collection illuminates, in detail, the developing market for these schools and, in the case of the latter group, provides personal insights from artists on the realist perspective.

The records also document the Robert Schoelkopf Gallery's significant contribution to the resurgence of interest in fine art photography during the 1960s and 1970s as reflected in an increase in the value of works by important American photographers such as Walker Evans.

Much of the outgoing correspondence from the gallery consists of copies of letters written by Robert Schoelkopf, with additional business being handled by assistant staff and, from the mid-1970s, Schoelkopf's wife, Laura Jane Schoelkopf. The records offer insight into the personalities of the Schoelkopfs and how their congenial and candid management style influenced their relationships with the contemporary artists they represented.
Arrangement:
Originally the collection was organized as one large file arranged alphabetically by folder title, with titles ranging from names of artists to general subject headings such as "Correspondence." During processing it became clear that the gallery delineated operations into three main functions: artist relations, client-dealer relations, and exhibitions. Consequently the collection is arranged as three main series based on these areas of concern. A small group of miscellaneous photographs of artists constitutes an additional series at the end of the collection.

Originally paper records throughout the collection were generally arranged chronologically, although this order was not strictly adhered to. Frequently, correspondence and memoranda were attached to related records going back several years. To preserve the relationship between such documents, records stapled together in this way have been left together. They are arranged in reverse chronological order and filed in the folder corresponding to the primary date (i.e., the date of the first and most recent paper in the group). Researchers should be aware that date ranges provided on folders refer to the primary dates of documents contained therein and that some items in the folder may predate that range. Otherwise, the general chronological scheme has been retained throughout the collection, with undated material placed at the beginning of the appropriate file.

Printed material is arranged in chronological order, with undated material at the beginning of the folder, and may include press releases, exhibition announcements, exhibition catalogs, posters, clippings from newspapers, magazines, and journals, and other publicity material. Large amounts of printed material are broken down into several discrete folder units.

The most consistent labeling system for photographic material apparent throughout the collection was title of work of art. The majority of images are not dated with a printing date or the date that the work of art was produced, and although many of them have a processing number, these are by no means consistent and there are no master lists that can be used to interpret them. Consequently, images are arranged primarily by media type and then alphabetically by title. Untitled images are placed at the beginning of a media group; "the" in a title is ignored. Exceptions to this method are addressed in the appropriate series descriptions.

Files labeled "Photographs of Works of Art" will typically include any or all of the following: black-and-white copy prints, black-and-white transparencies, color transparencies, slide transparencies, Polaroid prints, color snapshots, contact sheets, and separation sheets. Often the same image will be duplicated in several different formats. Any notes on photographic material found in or on the original folder in which the material was filed have been preserved with the material or transcribed onto a sheet of acid-free paper that either encloses or is placed directly before the item to which the information applies.

The designation "General" indicates that a file may contain any or all of the types of material outlined above.

Series 1: Artist Files, 1851-1991, undated (Boxes 1-23; 23 linear ft.)

Series 2: General Business Files, 1960-1991, undated (Boxes 24-28; 4.74 linear ft.)

Series 3: Group Exhibition Files, 1960-1988, undated (Boxes 28-29; 1 linear ft.)

Series 4: Photographs of Artists, undated (Box 29; 0.25 linear ft.)
Historical Note:
Robert Schoelkopf, Jr., was born in Queens, New York, in 1927. He graduated from Yale College in 1951 with a bachelor of arts degree and then taught briefly at his alma mater while conducting graduate research in art history. Schoelkopf began his career in commercial art in 1957 as an independent dealer of American painting and sculpture and became a member of the Art Dealers Association of America in 1958. In 1959 he formed a partnership with Virginia Zabriskie, of the Zabriskie Gallery in New York, that lasted until 1962. The gallery exhibited late-nineteenth and early-twentieth-century American painting, together with contemporary painting of a somewhat conservative style.

In 1962 Schoelkopf signed a three-year lease for the fourth floor of a building at 825 Madison Avenue in New York, where he opened the Robert Schoelkopf Gallery. From the outset, Schoelkopf aimed to specialize in American painting of the nineteenth and twentieth century and sculpture of all schools. He predicted a burgeoning market for the Hudson River School in particular, believing that American painting was increasingly perceived as being worthy of serious attention. In a letter dated January 3, 1963, Schoelkopf congratulated John Spencer for his decision to collect nineteenth-century American paintings for the Allen Memorial Art Museum at Oberlin College, assuring him that "progressive chauvanism [ sic] will operate to elevate prices in American painting. Every year more colleges teach Art History, and soon they shall have reached the level of sophistication and development where they will be obliged (for face) to offer tuition in specifically American art - hitherto neglected of academicians.... I and many other dealers have plans for exhibitions of nineteenth-century American painting, especially the Hudson River School."

Schoelkopf's instincts regarding the Hudson River School were undoubtedly correct, and consequently nineteenth-century American painters formed a permanent mainstay of his inventory. He is perhaps remembered more, however, for his dedication to reviving interest in lesser-known American painters from the turn-of-the-century who were impressionist or modernist in style. Schoelkopf developed something of a reputation for unearthing forgotten talent that, while sometimes mediocre or inconsistent, was occasionally exceptional and certainly worthy of note. He was committed to reinstalling Joseph Stella in the pantheon of major American artists, representing Stella's estate from 1963 to 1971 and holding regular exhibitions of the artist's work from 1962 on. In 1969 the gallery held the first New York exhibition of the paintings of Manierre Dawson, who was subsequently acclaimed by the critics for his important and innovative contributions to modernism. In 1970 Schoelkopf began showing the work of Jan Matulka, an artist whose work had been neglected since the 1930s, and his enthusiastic representation of the Matulka estate paved the way for a retrospective at the Whitney Museum of American Art in 1979.

Schoelkopf's interest in turn-of-the-century artists also extended to sculptors such as John Flannagan, Ethel Myers, Elie Nadelman, and John Henry Bradley Storrs, and he directed considerable energy to furthering Gaston Lachaise's reputation as an artist of major stature. When Lachaise died at the peak of his career in 1935, his estate was left to his wife, Isabel, and in 1957 to Isabel's son, Edward. When Edward died shortly thereafter, John B. Pierce, Jr., a nephew of Isabel Lachaise, was appointed trustee of the estate and formed the Lachaise Foundation. In 1962 Pierce entered an agreement with Robert Schoelkopf and Felix Landau to represent Lachaise's sculpture on the East and West Coasts, respectively. In this capacity Schoelkopf helped to launch a major retrospective of the artist's work at the Whitney Museum of American Art in 1964 and a traveling exhibition that began circulating in 1967.

The gallery's other major commitment was to painting and sculpture by contemporary American realists, many of whom worked in a figurative style and explored elements of allegory and classical mythology in their work, presenting landscapes, still lifes, and portraits from a realist perspective. The bulk of the gallery's exhibitions were, in fact, of work by contemporary artists, including metaphysical still-life painter William Bailey, colorist Leland Bell, figurative painter Martha Mayer Erlebacher, landscape and narrative painter Gabriel Laderman, and Icelandic artist Louisa Matthiasdottir. William Bailey was one of the gallery's most commercially successful artists, and his first one-person exhibition in New York was held there in 1968. Demand for Bailey's paintings often far exceeded his output, and by the late 1970s Schoelkopf invariably sold out his exhibitions and had compiled a lengthy waiting list for his work.

In its early years the Robert Schoelkopf Gallery contributed considerably to the development of interest in fine art photography that fostered an increasingly lucrative market for photographic prints during the 1960s and 1970s. In 1965 Schoelkopf began incorporating photography into the gallery's exhibition schedule and, in the spring of 1974, opened a gallery dedicated to photography on the second floor at 825 Madison Avenue. Between 1965 and 1979 Schoelkopf's was the only serious New York gallery dealing in painting and sculpture that also regularly exhibited photography as fine art. His interests lay primarily in antiquarian photography and the work of nineteenth-century and twentieth-century masters including Eugéne Atget, Mathew Brady, James Robertson, and Carleton Watkins. Schoelkopf organized shows examining specific photographic processes, the photogravure and the cyanotype, and presented surveys of genres such as portrait and landscape photography. In 1967 he held the first exhibition in many years of the work of Julia Margaret Cameron, an important figure in the history of Victorian photography, timing it to coincide with a show at the Metropolitan Museum of Art that focused on Cameron as one of four Victorian photographers.

Schoelkopf also handled the work of several influential contemporaries, most notably Brassaï, Henri Cartier-Bresson, Walker Evans, and Gisèle Freund. The gallery held Freund's first exhibition in the United States in 1975 and was, for a time, the only place in New York where one could see and purchase prints by Cartier-Bresson. Schoelkopf began exhibiting Evans's work in 1966 and regularly thereafter, including a 1971 exhibition that coincided with a major retrospective at the Museum of Modern Art.

In the fall of 1976 the second-floor gallery space was turned over to Marcuse (Cusie) Pfeifer, then the gallery's director, who planned to use it to show the work of young photographers in a gallery under her own name. Schoelkopf continued to hold several photography exhibitions a year in the fourth-floor gallery but decided to concentrate primarily on nineteenth-century masters.

In March 1971 a fire in the building at Madison Avenue resulted in substantial water damage to the gallery space. Although very little of the inventory was destroyed, the incident forced Schoelkopf to close until September. This temporary loss of revenue compounded with a nationwide recession cut into Schoelkopf's financial resources and left him questioning his commission policy and his level of commitment to contemporary work in all media. A letter to artist Adolph Rosenblatt dated May 3, 1971, records how Schoelkopf had become increasingly disenchanted with "all contemporary work" and would begin taking 40 percent commission on sales, instead of 33.3 percent. "Beside the matter of enthusiasm is the matter of economics," Schoelkopf remarked, "and the last year and a half have been really dreadful for the art business."

This difficult period was followed immediately by more prosperous times. January 1973 proved to be the gallery's most successful month to date, encouraging Schoelkopf to purchase a house in Chappaqua, New York, later that year. In November 1974 Schoelkopf wrote to Anthony D'Offay that business "is as slow as it has ever been, but what sales we make are big ones" and revealed that auctions had, at that point, become his primary avenue for trade.

Around 1975 Schoelkopf's wife of eleven years, Laura Jane Schoelkopf, began working in the gallery. Although seemingly dubious of the work at first, she became a considerable asset to the business and reputedly complemented her husband's relationship with the gallery's contemporary artists through her warmth and hospitality, qualities often noted by artists who corresponded regularly with the couple.

The financial instability that characterized the 1970s undoubtedly influenced Schoelkopf's decision to cease exhibiting photography in 1979. By 1978 however, his investment in early-twentieth-century art appeared to be paying off. Jan Matulka, Joseph Stella, and John Henry Bradley Storrs had all been represented in exhibitions at major museums, and sales of their work had increased considerably. Gaston Lachaise's reputation continued to grow, and the traveling exhibition still circulated, garnering far more interest than had originally been anticipated.

Although contemporary artists continued to take up the largest portion of the gallery's changing exhibitions, Schoelkopf's interest in contemporary work was growing more conservative, tending toward a narrower focus on the narrative and allegorical. By 1979 he no longer exhibited contemporary sculpture, admitting to a lack of enthusiasm for the work of any of the current figurative sculptors and a dislike of all contemporary abstract work. In a letter to Lillian Delevoryas, dated March 17, 1982, he confessed, "With age has come a hardening of the aesthetic arteries perhaps. What we have been showing is realism, but getting tighter all the time."

In April 1984 the gallery was moved to 50 West Fifty-seventh Street, and, during the years that followed, the Schoelkopfs pared down the number of contemporary artists they represented, handling only those to whom they felt most strongly committed while continuing to specialize in nineteenth-century and early-twentieth-century American painting and sculpture. As the gallery approached its thirtieth anniversary, Schoelkopf's achievements were considerable. He had operated a successful New York gallery for almost three decades, rejuvenated the reputations of several important American artists, and was respected by artists and clients alike for the integrity, intelligence, and humor with which he conducted his business affairs. In 1987 he had been appointed to the board of trustees of the Williamstown Regional Art Conservation Laboratory. By this time he was also a member of the advisory board to the National Academy of Design, and in 1988 he became a co-trustee of the Joseph and Robert Cornell Memorial Foundation.

In March 1990, Robert Schoelkopf was diagnosed with leukemia and underwent a regimen of cancer treatment that resulted in a brief remission by the summer. Schoelkopf returned to work temporarily, but by 1991 his condition had worsened and he died in April of that year. Having known for some time that her husband's prognosis was poor, Laura Jane Schoelkopf had apparently decided that she would not continue the gallery in the event of his death. With the help of the youngest of their two sons, Andrew, she settled final accounts and assisted the gallery's contemporary artists in finding representation elsewhere before closing the business in August 1991.
Provenance:
Twenty-seven linear feet of records were donated to the Archives of American Art by Laura Jane Schoelkopf, Robert Schoelkopf's widow, and the Coe Kerr Gallery in 1991 and 1992. An additional gift of 3.4 linear feet was donated by Laura Jane Schoelkopf in 1996. The collection was reduced slightly during processing.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Robert Schoelkopf 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, Modern -- 20th century  Search this
Works of art  Search this
Photography, Artistic  Search this
Realism in art  Search this
Art, American  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Gallery records
Illustrated letters
Photographs
Citation:
Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.robeschg
See more items in:
Robert Schoelkopf Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-robeschg
Additional Online Media:

The artists of my life / Brassaï ; translated from the French by Richard Miller

Author:
Brassaï 1899-1984  Search this
Subject:
Brassaï 1899-1984  Search this
Physical description:
223 p. : ill. ; 30 cm
Type:
Portraits
Date:
1982
Topic:
Artists  Search this
Call number:
N40.1.B825 V6
TR647.B823V6
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_148614

Brassaï : vom Surrealismus zum Informel : [Ausstellung] 21. Mai-10. Juli 1994 Rupertinum, Oktober-Dezember 1994 Mvsevm Fridericianvm / Austellungskonzeption, Manuel J. Borja-Villel

Author:
Brassaï 1899-1984  Search this
Borja-Villel, Manuel J  Search this
Rupertinum  Search this
Museum Fridericianum  Search this
Subject:
Brassaï 1899-1984  Search this
Physical description:
228 p. : ill. ; 31 cm
Type:
Books
Exhibitions
Date:
1994
Topic:
Photography, Artistic  Search this
Call number:
TR647 .B73 1994
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_653776

Brassai : artists and studios

Title:
Artists and studios
Author:
Brassaï 1899-1984  Search this
Marlborough Gallery  Search this
Subject:
Brassaï 1899-1984  Search this
Physical description:
12 p. : ill. ; 30 cm
Type:
Portraits
Exhibitions
Date:
1979
Topic:
Artists  Search this
Call number:
TR647 .B73 1979
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_692657

Henry Miller, happy rock / Brassaï ; translated by Jane Marie Todd

Author:
Brassaï 1899-1984  Search this
Subject:
Miller, Henry 1891-1980  Search this
Miller, Henry 1891-1980 Friends and associates  Search this
Brassaï 1899-1984 Friends and associates  Search this
Physical description:
179 p. : ill. ; 24 cm
Type:
Biography
Date:
2002
C2002
20th century
Topic:
Authors, American  Search this
Call number:
CT275.M643 B8h E2002
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_699350

Paris by night / Brassaï ; with an introduction by Paul Morand

Author:
Brassaï 1899-1984  Search this
Subject:
Brassaï 1899-1984  Search this
Physical description:
62 p., [4] p. of plates : chiefly ill. ; 33 cm
Type:
Books
Pictorial works
Place:
France
Paris
Paris (France)
Date:
1987
C1987
20th century
Topic:
Night photography  Search this
Social life and customs  Search this
Pictorial works  Search this
Call number:
TR647.B823 M8 E1987
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_460999

Brassai : letters to my parents / translated from the Hungarian by Peter Laki and Barna Kantor

Author:
Brassaï 1899-1984  Search this
Museum of Fine Arts, Houston  Search this
Subject:
Brassaï 1899-1984  Search this
Physical description:
xxii, 274 p., [36] p. of plates : ill. ; 20 cm
Type:
Correspondence
Place:
France
Date:
1997
Topic:
Photographers  Search this
Call number:
TR647.B823 A1 1997
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_525497

Brassaï : notes et propos sur la photographie : exposition du Musée national d'art moderne - Centre de création industrielle présentée au Centre Pompidou du 19 avril au 26 juin 2000 / Centre Pompidou

Author:
Brassaï 1899-1984  Search this
Centre Georges Pompidou  Search this
Subject:
Brassaï 1899-1984  Search this
Physical description:
62 p. : ill. ; 27 cm
Type:
Exhibitions
Date:
2000
C2000
Topic:
Photography--Exhibitions  Search this
Photography, Artistic  Search this
Call number:
TR647 .B73 2000b
TR647.B823 C46 2000
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_603936

The sculptures of Picasso / photographs by Brassaï ; foreword by Diana Widmaier Picasso ; introduction by Daniel-Henry Kahnweiler

Author:
Picasso, Pablo 1881-1973  Search this
Brassaï 1899-1984  Search this
Kahnweiler, Daniel Henry 1884-1979  Search this
Widmaier Picasso, Diana  Search this
Subject:
Picasso, Pablo 1881-1973 Criticism and interpretation  Search this
Brassaï 1899-1984  Search this
Physical description:
1 portfolio [xv, 76 p.] : chiefly ill. ; 42 cm
Type:
Books
Date:
2005
Call number:
NB553.P45 A4 2005
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_800438

Henry Miller : the Paris years / by Brassaï ; translated from the French by Timothy Bent ; with photographs by the author

Author:
Brassaï 1899-1984  Search this
Subject:
Miller, Henry 1891-1980 Homes and haunts  Search this
Brassaï 1899-1984 Friends and associates  Search this
Physical description:
224 p., [16] p. of plates : ill., maps, ports. ; 22 cm
Type:
Biography
Place:
France
Paris
Paris (France)
Date:
1995
C1995
20th century
Topic:
Americans--History  Search this
Authors, American  Search this
Intellectual life  Search this
Call number:
CT275.M643 B8 E1995
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_490733

Brassaï : the eye of Paris / by Anne Wilkes Tucker with Richard Howard and Avis Berman

Author:
Tucker, Anne  Search this
Brassaï 1899-1984  Search this
Howard, Richard 1929-  Search this
Berman, Avis  Search this
Museum of Fine Arts, Houston  Search this
J. Paul Getty Museum  Search this
National Gallery of Art (U.S.)  Search this
Subject:
Brassaï 1899-1984  Search this
Physical description:
367 p. : ill. ; 34 cm
Type:
Exhibitions
Date:
1999
Topic:
Photography, Artistic  Search this
Call number:
TR647.B823 T8 1999
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_570454

Brassaï : "no ordinary eyes" / [this edition published on the occasion of the exhibition Brassaï : the Soul of Paris, 22 February-13 May 2001, Hayward Gallery] ; edited by Alain Sayag and Annick Lionel-Marie with contributions by Jean-Jacques Aillagon... [et al.]

Author:
Brassaï 1899-1984  Search this
Lionel-Marie, Annick  Search this
Aillagon, Jean-Jacques  Search this
Brassaï, Gilberte  Search this
Sayag, Alain 1941-  Search this
Centre Georges Pompidou  Search this
Subject:
Brassaï 1899-1984  Search this
Physical description:
319 p. : ill. (some col.), ports. ; 31 cm
Type:
Exhibitions
Pictorial works
Place:
Paris (France)
Date:
2000
Topic:
Photography, Artistic  Search this
Call number:
TR647 .B73 2000
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_614018

Brassaï; [exposition]

Author:
Bibliothèque nationale (France)  Search this
Adhémar, Jean  Search this
Gambier, Alix  Search this
Brouillet, M. F  Search this
Subject:
Brassaï 1899-1984  Search this
Physical description:
27 l. 27 cm
Type:
Exhibitions
Date:
1963
Topic:
Photography--Exhibitions  Search this
Photography, Artistic  Search this
Call number:
TR140.B82P2
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_109898

The sculptures of Picasso [by] Daniel Henry Kahnweiler. Photos. by Brassai. [Tr. from the French by A.D.B. Sylvester]

Author:
Kahnweiler, Daniel Henry 1884-1979  Search this
Picasso, Pablo 1881-1973  Search this
Brassaï 1899-1984  Search this
Subject:
Picasso, Pablo 1881-1973  Search this
Physical description:
[15] p., [142] plates. illus. 32 cm
Type:
Books
Date:
1949
Call number:
N40.1.P58 K12 1949
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_472688

Proust in the power of photography / Brassaï ; translated by Richard Howard from Marcel Proust sous l'emprise de la photographie

Author:
Brassaï 1899-1984  Search this
Howard, Richard 1929-  Search this
Subject:
Proust, Marcel 1871-1922 Knowledge Photography  Search this
Physical description:
xii, 140 p., [16] p. of plates : ill. ; 20 cm
Type:
Books
Date:
2001
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_670720

Picasso and company [by] Brassaï. Translated from the French by Francis Price. Pref. by Henry Miller. Introd. by Roland Penrose. With photos. by the author

Author:
Brassaï 1899-1984  Search this
Subject:
Picasso, Pablo 1881-1973  Search this
Physical description:
xx, 289 p. illus., ports. 24 cm
Type:
Interviews
Place:
France
Date:
1966
Topic:
Artists  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_774133

Brassaï. With an introductory essay by Lawrence Durell

Author:
Brassaï 1899-1984  Search this
Durrell, Lawrence  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Physical description:
79, [1] p. (chiefly illus., ports.) 23 cm
Type:
Books
Pictorial works
Place:
Paris (France)
Date:
1968
[1968]
Topic:
Photography, Artistic  Search this
Call number:
TR647.B823 D9
TR650 .B823
TR650.B823
TR647.B823D9
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_22525

The secret Paris of the 30's / Brassaï ; translated from the French by Richard Miller

Author:
Brassaï 1899-1984  Search this
Physical description:
ca. 200 p. : ill ; 28 cm
Type:
Books
Place:
Paris (France)
Date:
1976
C1976
20th century
Topic:
Social life and customs  Search this
Description and travel  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_929231

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