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Business records

Collection Creator:
Carter, Benny, 1907-1997  Search this
Container:
Box 130, Folder 4
Type:
Archival materials
Date:
1960-1976
Collection Restrictions:
Collection is open for research.
Collection Rights:
Reproduction restricted due to copyright. For permissions contact: Mr. Ed Berger, 117 Federal Court, #5, Princeton, N.J. 08540 (email: eberger@attglobal.net).
Collection Citation:
Benny Carter Collection, 1928-2000, Archives Center, National Museum of American History.
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Benny Carter Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0757-ref3928

Business Records

Collection Composer:
Whaley, Thomas L.  Search this
Container:
Box 2, Folder 1-11
Type:
Archival materials
Text
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:
Tom Whaley Collection, ca. 1941-1979, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0652, Series 3
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Tom Whaley Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0652-ref15

Miscellaneous Business Records

Collection Creator:
Pollock, Jackson, 1912-1956  Search this
Extent:
(9 folders)
Container:
Box 10, Folder 12-20
Type:
Archival materials
Date:
1957-1983, undated
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Jackson Pollock and Lee Krasner 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:
Jackson Pollock and Lee Krasner papers, circa 1914-1984. Archives of American Art, Smithsonian Institution.
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Jackson Pollock and Lee Krasner papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-polljack-ref283
Additional Online Media:

Miscellaneous Business Records

Collection Creator:
Pollock, Jackson, 1912-1956  Search this
Extent:
(2 folders; partially scanned)
Container:
Box 3, Folder 12-13
Type:
Archival materials
Date:
1957-1983, undated
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Jackson Pollock and Lee Krasner 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:
Jackson Pollock and Lee Krasner papers, circa 1914-1984. Archives of American Art, Smithsonian Institution.
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Jackson Pollock and Lee Krasner papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-polljack-ref135
Additional Online Media:

Business Records, Miscellaneous

Collection Creator:
Cornell, Joseph  Search this
Container:
Box 1, Folder 10
Type:
Archival materials
Date:
1962-1968, undated
Collection Restrictions:
Use of the original papers requires an appointment.
Collection Rights:
The Joseph Cornell 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:
Joseph Cornell papers, 1804-1986, bulk 1939-1972. Archives of American Art, Smithsonian Institution.
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Joseph Cornell papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-cornjose-ref21

Personal Business Records

Collection Creator:
Gammon, Reginald, 1921-2005  Search this
Container:
Box 1, Folder 12
Type:
Archival materials
Date:
1971-2003
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.

Use of archival audiovisual recordings and electronic records with no duplicate access copy requires advance notice.
Collection Rights:
The Reginald Gammon 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:
Reginald Gammon papers, 1927-2007, bulk 1960-2005. Archives of American Art, Smithsonian Institution.
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Reginald Gammon papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-gammreg-ref203

Personal Business Records

Collection Creator:
Bowditch, Nancy Douglas  Search this
Container:
Box 1, Folder 8
Type:
Archival materials
Date:
1947-1974
Collection Restrictions:
Use of originals requires an appointment.
Collection Rights:
The Nancy Douglas Bowditch and Brush family 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:
Nancy Douglas Bowditch and Brush family papers, circa 1860-1985. Archives of American Art, Smithsonian Institution.
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Nancy Douglas Bowditch and Brush family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bowdnanc-ref26

Miscellaneous Business Records

Collection Creator:
Page, William, 1811-1885  Search this
Container:
Box 5, Folder 44
Type:
Archival materials
Date:
1848-1892, undated
Scope and Contents note:
(In addition to Page's records, file contains receipts for Sophia Page, Mrs. Henry Stevens, and Sarah Page, his second wife.)
Collection Restrictions:
The collection has been digitized and is available online via AAA's website. Glass plate negatives are housed separately and closed to researchers.
Collection Rights:
The William Page and Page Family 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:
William Page and Page Family papers, 1815-1947, bulk 1843-1892. Archives of American Art, Smithsonian Institution.
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William Page and Page Family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-pagewill-ref259

Collector Records business records

Musician:
Penn, Larry  Search this
McGee, Bobbie  Search this
Magpie  Search this
Killen, Louis  Search this
Creator:
Collector Records  Search this
Glazer, Joe, 1918-2006  Search this
Extent:
34.28 Cubic feet (3 record boxes of business records; 8 record boxes, including 374 non-master audio reels (10", 7", 5", 4" and 2" reels); 160 10" reels in open stacks; 4 record boxes, including 853 audio cassettes; 1 record box, including 36 video cassettes; and 491 long play records, 45s and compact discs.)
Type:
Archival materials
Collection descriptions
Digital audio tapes
VHS (videotape format)
Audiocassettes
Audiotapes
Date:
circa 1937-2004
bulk 1960-1990
Summary:
This collection documents the activities of Joe Glazer's record label Collector Records. Materials include the label's original commercial recordings, paper records related to day-to-day business operations and production, field recordings made by Joe Glazer, and Glazer's personal music collection.
Scope and Contents:
The Collector Records business records, measuring 34.28 cubic feet, date from 1937-2004 and contain materials relating to founder Joe Glazer's work with the label, as well as his work as a participant in the labor movement.

The records include papers documenting the promotion, production, and business operations of Collector Records; original audiorecordings used for Collector Records masters; audiorecordings made in the field by Joe Glazer; video recordings of performances by and interviews with Joe Glazer, including performances at labor union events; audiorecordings of interviews with Joe Glazer; Collector Records recordings and releases; and Glazer's personal commercial music collection.
Arrangement:
Records are arranged in 7 series:

Series 1: Promotional, Performance, and Record Planning Materials, 1971-2004

Series 2: Financial and Administrative Records, 1966-2003

Series 3: Open-reel Audiorecordings, 1937-1990

Series 4: Cassette Audiorecordings, 1949-2002

Series 5: Video Recordings, 1984-2004

Series 6: Digital Audio Tape (DAT) Audiorecordings, 1982-1994

Series 7: Published Audiorecordings
Biographical / Historical:
Since the Industrial Revolution, working people have been organizing and campaigning for better treatment from their employers. The labor movement and its unions struggle for fair wages, safe working conditions, and many other benefits. Music is an important tool in the labor movement to motivate workers and help build solidarity. Labor songs detail political issues, glorify martyrs and heroes in the movement, and, most of all, inspire and uplift workers. Joe Glazer (1918-2006), often called "Labor's Troubadour," spent a lifetime as one of America's noted historians of labor song. His booming baritone and exuberant guitar have performed for millions of workers, strikers, and students. He was the author of several significant labor songs, notably "The Mill Was Made of Marble," which is a commentary on the need for cleaner, safer mill conditions for textile workers. In addition to his performing, he was employed by the United Rubber Workers, the Textile Workers Union of America, and the United States Information Agency over the course of his career.

Glazer founded Collector Records in 1970 to distribute his own recordings of labor songs and those of younger and newer performers he had met through his work—many of them through the Labor Heritage Foundation, which he founded in 1978, and its yearly Great Labor Arts Exchange. Some artists, such as Bobbie McGee, went on to become well-known folk singers, but many Collector artists remained at their jobs. Eddie Starr (1956-2003) was a third-generation Illinois steelworker who declined a life on the road as a rock musician, and took a factory job at home to support his family. Kenny Winfree was a textile worker when Glazer heard his bluegrass-style labor songs. He continues to work, now at an aircraft plant in Texas, where he is an active member of UAW Local 848.

Collector Records paints a clear picture of workers' struggles. Songs depict everyday hazards and ailments encountered on the job, allowing workers to express their situation and make audiences aware of their plight. "Cotton Mill Colic" is a classic folk song written in 1926 by David McCarn, a textile mill worker in North Carolina that describes the harsh conditions and low pay of mill-working life. The steelworker in "Corrido Minero" sings about the ever-present danger of working in a mine with outdated equipment. Newer workplace issues are expressed in labor songs as well. The worker in John O'Connor's song suffers from carpal tunnel syndrome, one of the most frequent of modern workplace afflictions, occurring among those who perform a great deal of computer data entry and causing extreme pain in the hands and arms.

Collector Records Business Records is a historic collection presenting music to inspire and motivate working people. The Glazer family donated the label's recordings, along with Glazer's original song and narrative recordings, business records, and personal commercial music collection to the Smithsonian Center for Folklife and Cultural Heritage in 2006.
Provenance:
The Ralph Rinzler Folklife Archives and Collections acquired the Collector Records business records in 2006 through a donation by the Glazer family.
Restrictions:
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at rinzlerarchives@si.edu or (202) 633-7322 for additional information.

Restrictions may apply concerning the use, duplication, or publication of items in the Collector Records business records. Please consult the archivists for additional information about the materials and their use.
Rights:
Copyright restrictions apply. Contact archives staff for information.
Topic:
Protest songs  Search this
Political ballads and songs  Search this
Labor movement -- Songs and music  Search this
Labor unions  Search this
Genre/Form:
Digital audio tapes
VHS (videotape format)
Audiocassettes
Audiotapes -- Open reel
Citation:
Collector Records business records, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.COLL
See more items in:
Collector Records business records
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_collection:sova-cfch-coll
Additional Online Media:

Nathan Halper business records

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

Biographical material consists of one literary poem.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Smithsonian Folkways Recordings business records, 1988-2012

Creator:
Smithsonian/Folkways Recordings  Search this
Physical description:
Audiotapes
Compact discs
Phonograph records
Video recordings
Business records
Type:
Audiotapes
Collection descriptions
Business records
Compact discs
Phonograph records
Video recordings
Place:
United States
Date:
1988
1988-2009
1988-2012
20th century
Topic:
Popular music  Search this
Folk music  Search this
World music  Search this
Children's songs  Search this
Restrictions & Rights:
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at (202) 275-1149 for additional information
Copyright restrictions apply. Contact archives staff for additional information
Data Source:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
edanmdm:siris_arc_228432

Business Records, Correspondence with Galleries

Collection Creator:
Cornell, Joseph  Search this
Container:
Box 1, Folder 9
Type:
Archival materials
Date:
1951-1968
Collection Restrictions:
Use of the original papers requires an appointment.
Collection Rights:
The Joseph Cornell 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:
Joseph Cornell papers, 1804-1986, bulk 1939-1972. Archives of American Art, Smithsonian Institution.
See more items in:
Joseph Cornell papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-cornjose-ref20

Windsor and Ford Business Records

Creator:
Windsor & Ford (Brick Manufacturing Company).  Search this
Charles Ford (company).  Search this
Ford & Brother  Search this
Names:
Ford, Charles  Search this
Ford, Samuel  Search this
Windsor, David A.  Search this
Extent:
4.3 Cubic feet (14 boxes)
Type:
Archival materials
Collection descriptions
Ledgers (account books)
Receipts
Correspondence
Business records
Business cards
Invoices
Account books
Place:
Washington (D.C.)
Date:
1859-1906
Scope and Contents:
The collection consists of invoices and receipts documenting the sale of bricks, purchase of supplies, and expenses for the real estate business; account books, ledgers, and a business diary showing employment records and the shipment of bricks by land and water. Records of Ford and Brother are primarily represented by Charles Ford, and later accounts are with his estate. Also in the included is correspondence concerning financial transactions of several companies and business cards of other local brick manufacturers.
Arrangement:
The collection is divided into three series.

Series 1: Windsor & Ford, 1859-1890

Series 2: Charles Ford, 1879-1900

Series 3: Ford & Brother, 1886

Series 4: Estate of Charles Ford, 1868-1906
Biographical / Historical:
Windsor & Ford, a brick manufacturing company in Washington, D. C., was operated by Charles and Samuel Ford and David A. Windsor. It supplied bricks for several federal and district buildings in the city. In addition, the Fords operated a brick manufacturing company and real estate business as Ford and Brother.
Collection documents business actcivities of David A. Windsor and Charles Ford.
Provenance:
Collection purchased through Raymond J. Staffieri, 1987.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Real estate -- Washington (D.C.)  Search this
Brickmakers -- 1850-1910  Search this
Bricks -- Manufacturing -- 1850-1910 -- Washington (D.C.)  Search this
Brickmaking -- 1859-1906 -- Washington (D.C.)  Search this
Genre/Form:
Ledgers (account books)
Receipts
Correspondence -- 1930-1950
Business records -- 1850-1900
Business cards
Invoices
Account books
Citation:
Windsor & Ford Business Records, 1859-1906, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0019
See more items in:
Windsor and Ford Business Records
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0019

Nathan Halper business records, 1952-1979

Creator:
Halper, Nathan, 1907-1983  Search this
Subject:
Kootz, Samuel Melvin  Search this
Hartley, Marsden  Search this
Hofmann, Hans  Search this
Motherwell, Robert Burns  Search this
Caro, Anthony  Search this
Gottlieb, Adolph  Search this
Avery, Milton  Search this
Cuddihy, John Murray  Search this
Botkin, Henry  Search this
Stankiewicz, Richard  Search this
Smith, David  Search this
Kootz Gallery (N.Y.)  Search this
National Association of Women Artists (U.S.)  Search this
H.C. Gallery (Provincetown, Mass.)  Search this
H.C.E. Gallery (Provincetown, Mass.)  Search this
Sun Gallery (Provincetown, Mass.)  Search this
Topic:
Art galleries, Commercial  Search this
Art dealers  Search this
Gallery records  Search this
Art  Search this
Photographs  Search this
Visitors' books  Search this
Art, Modern  Search this
Gallery directors  Search this
Record number:
(DSI-AAA_CollID)9671
(DSI-AAA_SIRISBib)211879
AAA_collcode_halpnath
Theme:
The Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211879
Additional Online Media:

Leonard Bocour papers and business records

Creator:
Bocour, Leonard, 1910-1993  Search this
Names:
Bocour Artist Colors (Firm)  Search this
Extent:
11.8 Linear Feet
Type:
Archival materials
Collection descriptions
Interviews
Diaries
Date:
1933-1993
Summary:
The papers of American art collector, paint manufacturer, lecturer, and painter, Leonard Bocour measure 11.8 linear feet and date from 1933 to 1993. Found within the papers are biographical material; miscellaneous correspondence with artists and colleagues, including Helen Frankenthaler, Chaim Gross, Philip Guston, Alex Katz, Jack Levine, Morris Louis, David Oxtoby, and Philip Pearlstein; diaries, daily calendars, notes and writings; personal business records and the business records of Bocour Artist Colors, Inc.; transcripts of interviews with Bocour; and printed material.
Scope and Content Note:
The papers of American art collector, paint manufacturer, lecturer, and painter, Leonard Bocour measure 11.8 linear feet and date from 1933 to 1993. Found within the papers is biographical material, including identity cards, membership cards, and award certificates. Miscellaneous correspondence is primarily with artists and colleagues, including Helen Frankenthaler, Chaim Gross, Philip Guston, Alex Katz, Jack Levine, Morris Louis, David Oxtoby, and Philip Pearlstein and discuss exhibitions and other art-related topics. Also found are diaries and annotated daily calendars; personal business records regarding personal finances, donations, and lectures; business records for Bocour Artist Colors, Inc., including contracts, business correspondence, financial documentation, and printed material; notes and writings including address books and writings by Bocour and others; transcripts of interviews with Bocour that discuss his early career; and printed material including clippings, exhibition announcements and catalogs, booklets, and brochures.
Arrangement:
The collection has been arranged into eight series primarily according to type of material. Materials within each series have been arranged chronologically, except for the Receipts for "Private Deals" and the Business Card File which are arranged alphabetically. Oversized material from various series has been housed in Box 13 and OV 14 and is noted in the Series Description/Container Listings Section at the appropriate folder title.

Series 1: Biographical Material, 1940s-1990s (Box 1; 4 folders)

Series 2: Miscellaneous Correspondence, 1950s-1990s (Box 1-4, 13, OV 14; 3.8 linear feet)

Series 3: Diaries and Annotated Calendars, 1955-1987 (Box 4-5; 19 folders)

Series 4: Personal Business Records, circa 1961-1992 (Box 5-7, 13; 2.2 linear feet)

Series 5: Business Records for Bocour Artist Colors, Inc., circa 1942-1992 (Box 7-9, 13; 2.3 linear feet)

Series 6: Notes and Writings, 1960-1993, undated (Box 9-10; 0.8 linear feet)

Series 7: Interview Transcripts, 1970s-1980s (Box 10; 5 folders)

Series 8: Printed Material, 1933-1993, undated (Box 10-13; 1.8 linear feet)
Biographical Note:
American art collector, paint manufacturer, lecturer, and painter, Leonard Bocour (nèe Leonard Bogdanoff) was born in 1910 in New York City. He studied at the National Academy of Design and at the Art Students League. In 1928, he met German artist Emil Ganso who taught him how to make artists' colors.

In 1932, Bocour established Bocour Hand Ground Artist Colors and sold paint directly to artists, greatly increasing his contacts and acquaintances in the art community. In this Depression era, Bocour often gave away paint to struggling artists who later became successful. Because artists would sometimes trade art work for tubes of paint, Bocour was able to build an impressive art collection that he would later loan for exhibition. He also donated numerous works of art to schools and museums.

Over the years, Bocour maintained a close relationship with artists, most notably Helen Frankenthaler, Philip Guston, Jack Levine, Morris Louis, and Philip Pearlstein. In the late 1930s, Bocour decided to increase his business by selling through retailers and wholesalers, gradually building a successful business.

From 1945 to 1955, Bocour joined the Skowhegan School of Painting and Sculpture in Maine and for many years taught a summer technical course. In 1947, he developed Magna, an acrylic resin miscible with oil or turpentine that had the same consistency as oil paint, but dried in a fraction of the time. In 1960, Bocour introduced Aqua-Tec which is an acrylic polymer emulsion miscible with water.

From 1952 to 1970, Samuel Golden was Bocour's partner in the capacity of production manager. A merger with Zipatone, Inc. was carried out in 1982, but was dissolved in 1987. Zipatone, Inc. moved the company to Chicago, but Bocour remained in New York as president and consultant.

Beginning in the early 1960s, Bocour lectured at art schools and various arts organizations, discussing drawing, painting, and different art media as well as demonstrating his own products. He was a member of the National Art Materials Trade Association (NAMTA) and was president of the Art Material Manufacturers' Association, inducted into its Hall of Fame in 1974. Leonard Bocour died on Labor Day 1993.
Related Material:
Additional Leonard Bocour papers may be found at the Syracuse University Library, Special Collections Research Center.
Provenance:
The Leonard Bocour papers and business records were donated by his widow, Ruth Bocour, in 1994.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Leonard Bocour papers and business records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Collectors and collecting -- New York (State) -- New York  Search this
Paint industry and trade -- New York (State) -- New York  Search this
Drawing -- Technique  Search this
Painting -- Technique  Search this
Painting -- Equipment and supplies  Search this
Genre/Form:
Interviews
Diaries
Citation:
Leonard Bocour papers and business records, 1933-1993. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bocoleon
See more items in:
Leonard Bocour papers and business records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bocoleon

Lee Nordness business records and papers

Creator:
Nordness, Lee  Search this
Names:
American Art Expositions (New York, N.Y.)  Search this
Cooper-Hewitt Museum.  Search this
Forms and Objects (Firm)  Search this
Johnson Wax  Search this
Lee Nordness Galleries  Search this
Little Studio  Search this
Metromedia, Inc  Search this
Nordness Gallery  Search this
Talent Discovery Company  Search this
Aronson, David, 1923-  Search this
Blaustein, Al H., 1924-2004  Search this
Collie, Alberto  Search this
Crawford, Ralston, 1906-1978  Search this
D'Arista, Robert, 1929-  Search this
Gibran, Kahlil, 1922-  Search this
Gikow, Ruth, 1915-1982  Search this
Grippe, Peter, 1912-  Search this
Guglielmi, Louis, 1906-1956  Search this
Hebald, Milton  Search this
Kachadoorian, Zubel, 1924-  Search this
Kearns, James  Search this
Lebrun, Rico, 1900-1964  Search this
Levi, Julian E. (Julian Edwin), 1900-1982  Search this
Meigs, Walter, 1918-1988  Search this
Prestopino, Gregorio  Search this
Williams, Hiram  Search this
Zerbe, Karl, 1903-1972  Search this
Extent:
117.5 Linear feet (Boxes 1-121)
Type:
Archival materials
Collection descriptions
Scrapbooks
Photographs
Date:
circa 1931-1992
bulk 1954-1984
Summary:
The Lee Nordness business records and papers measure 117.5 linear feet and date from circa 1931 to 1992 with the bulk of materials dating from 1954 to 1984. The records document seven New York City art-related companies with which Nordness was involved: Talent Discovery Company, The Little Studio, Ltd., American Art Expositions, Inc., Nordness Gallery, Inc., Lee Nordness Galleries Art Advisory Section, Inc., Lee Nordness Galleries Exhibition Section, Inc., and Forms & Objects, Inc. Records include correspondence, artist's files, business and legal records, inventories, financial and sales records, printed materials, scrapbooks, and photographic materials. Also found is a small group of personal papers.
Scope and Contents:
The Lee Nordness business records and papers measure 117.5 linear feet and date from circa 1931 to 1992 with the bulk of materials dating from 1954 to 1984. The records document seven New York City art-related companies with which Nordness was involved: Talent Discovery Company, The Little Studio, Ltd., American Art Expositions, Inc., Nordness Gallery, Inc., Lee Nordness Galleries Art Advisory Section, Inc., Lee Nordness Galleries Exhibition Section, Inc., and Forms & Objects, Inc. Records include correspondence, artist's files, business and legal records, inventories, financial and sales records, printed materials, scrapbooks, and photographic materials. Also found is a small group of personal papers.

More than half of the collection documents Lee Nordness' primary businesses, Nordness Gallery, Inc. and Lee Nordness Galleries Art Advisory Section, Inc. Business correspondence, artist's files, extensive project files, business and legal records, financial and sales records, inventories, printed materials, scrapbooks, and photographic materials reveal Nordness' role as an art dealer of contemporary American artwork and art consultant to companies and organizations. The records document his ability to adapt to changing external markets as well as his own interests, from dealing primarily in paintings and sculpture to promoting American fine crafts. Artists from Nordness' permanent roster are represented, including David Aronson, Al Blaustein, Alberto Collie, Ralston Crawford, Robert D'Arista, Kahlil Gibran, Ruth Gikow, Peter Grippe, Louis Guglielmi, Milton Hebald, Zubel Kachadoorian, James Kearns, Rico Lebrun, Julian Levi, Walter Meigs, Gregorio Prestopino, Hiram Williams, and Karl Zerbe. Companies and organizations represented include S.C. Johnson & Son, Co., Metromedia, and Cooper-Hewitt, National Museum of Design. Because materials from Nordness Gallery, Inc. and Art Advisory Section were often interfiled and related, the records were not separated into different series.

The records of Lee Nordness Galleries Exhibition Section, Inc. document the exhibition and sale of artwork through correspondence, artist's files, business records, financial and sales records, and scrapbooks for artists and exhibition seasons. Forms & Objects, Inc. contains correspondence, lecture notes, public relations files, business records, financial and sales records, scrapbooks and photographic materials related to American fine crafts.

The organization and press surrounding the monumental exhibitions Art:USA:58 and Art:USA:59 are illustrated in the correspondence, banking records, founding documents, newspaper clippings, paid bill receipts, and sales invoices of the American Art Expositions, Inc. records. Photographs of the Art:USA:59 artists taken by Fred Darrah are also found here.

The bulk of the records of The Little Studio, Inc. are financial records and sales invoices. Lee Nordness' involvement in the gallery is also documented through correspondence and business records. The records of Talent Discovery Company are primarily financial, including banking records, receipts, and tax records. Also found are shipping records, correspondence, and inventory cards.

There are few personal papers of Lee Nordness, the bulk of which are related to his involvement with his tenant cooperative. Also found is scattered correspondence, a scrapbook, and travel documents.

Records for the various companies were co-mingled upon accession. AAA has attempted to place papers in Nordness' original order based on discussions with Nordness and evidence from the records. However, researchers should note there is significant interfiling of the companies' records throughout the collection, especially scrapbooks and photographs. Researchers are strongly encouraged to use dates and keywords to help discover related materials throughout all series.

Abbreviations were often written by the gallery in the upper left-hand corner of a document to indicate to which company the record should be filed. Abbreviations used include: Nordness Gallery, "NG" or "LN"; Art Advisory Section, "AA" or "LN"; Exhibition Section, "ES" or "E/S"; Forms & Objects, "F/O"; American Art Expositions, "AAE"; The Little Studio, "TLS"; and, Talent Discovery Company, "TDC."
Arrangement:
The collection is arranged as 7 series:

Series 1: Nordness Gallery, Inc. and Lee Nordness Galleries Art Advisory Section, Inc., circa 1938-1992, bulk 1958-1982 (67.8 linear feet; Boxes 1-67, 117-119)

Series 2: Lee Nordness Galleries Exhibition Section, Inc., 1938-1985 (25.5 linear feet; Boxes 68-93, 120, FC 122)

Series 3: Forms & Objects, Inc., circa 1931, circa 1959-1984 (13.5 linear feet; Boxes 93-106, 120)

Series 4: American Art Expositions, Inc., 1955-1968 (1.4 linear feet; Boxes 106-107)

Series 5: The Little Studio, Inc., 1947-1969 (7.7 linear feet; Boxes 108-115, 121)

Series 6: Talent Discovery Company, 1953-1957 (0.9 linear feet; Boxes 115-116, 121)

Series 7: Personal Papers of Lee Nordness, 1948-1976 (0.7 linear feet; Box 116)
Biographical / Historical:
New York City gallerist and entrepreneur Lee Nordness (1922-1995) was born in Olympia, Washington. He studied art in college and received a bachelor's degree from Uppsala University in Sweden. From 1954-1956, Nordness ran a small gallery, Talent Discovery Company, out of his apartment in New York City. Around 1955, Nordness became the director of The Little Studio, Ltd., a gallery started by Richard Kollmer in 1952 to showcase moderately priced artwork by young artists. Nordness took over the business in 1957; it closed in April 1963.

In 1958, Nordness incorporated American Art Expositions, Inc. to organize Art:USA:58, a large exposition of contemporary American art held at Madison Square Garden. The following year Art:USA:59 was held at the New York Coliseum.

Lee Nordness opened his own gallery, Nordness Gallery, Inc., in December 1957 on Madison Avenue. The gallery promoted a roster of contemporary painters and sculptors, including David Aronson, Al Blaustein, Alberto Collie, Ralston Crawford, Robert D'Arista, Kahlil Gibran, Ruth Gikow, Peter Grippe, Milton Hebald, Zubel Kachadoorian, James Kearns, Julian Levi, Walter Meigs, Gregorio Prestopino, Hiram Williams, Karl Zerbe, and the estates of Louis Guglielmi and Rico Lebrun. In 1966, Lee Nordness reorganized his businesses. He closed Nordness Gallery and opened Lee Nordness Art Advisory Section, an art consulting service to corporations, collectors, museums, and individuals, and Lee Nordness Galleries Exhibition Sections, Inc. to handle exhibitions and the sale of paintings and sculptures.

Lee Nordness had an interest in American crafts and, beginning in 1968, he added a permanent roster of American craftmakers to exhibit alongside paintings and sculpture. He opened Forms & Objects, Inc. to handle the exhibition and sales of fine crafts such as ceramics, fiber, glass, metal and wood. With a need for additional exhibition space, the gallery moved a few blocks off Madison Avenue to 236-238 East 75th Street.

Nordness traveled the globe to assemble prominent collections for clients, such as Art:USA, a collection of contemporary works by 102 American artists for S.C. Johnson & Son, Inc. Art:USA traveled throughout the United States and Europe in the mid-late 1960s before being donated to the National Collection of Fine Arts (Smithsonian Institution). In the late 1960s, he assembled a collection of 300 American craft objects for S.C. Johnson & Son, Inc. called Objects:USA, which toured throughout the United States and Europe. This collection was disassembled in the late 1970s, many of the works donated to the Museum of Arts and Design, formerly the Museum of Contemporary Craft.

Nordness closed his New York galleries in the mid-1980s. Soon after, he moved to Belfair, Washington and opened Lee Nordness Galleries, Inc. in 1986. He passed away in 1995 in Washington.
Separated Materials:
Three microfilm reels of material were loaned to the Archives of American Art by Lee Nordness in 1959 regarding American Art Exposition, Inc.'s Art:USA 58 and Art:USA:59. Microfilm includes correspondence, catalogs, visitor lists, press releases, lists of artwork, financial records, and advertising materials and is available on reels NAU1, NAU2 and NAU3.

Later, in 1964 and 1969, Lee Nordness loaned original materials for microfilming compiled by Nordness Gallery about the careers of Gregorio Prestopino, Julian E. Levi, and Lee Gatch, including correspondence, exhibition materials, biographical information, clippings, and photographs. Loaned material is available on reels N69-21 and D169. Original materials were returned to Nordness, but some may have been included in later donations and those originals have been integrated with the other donated records.

The contents of microfilm reels are not described in the container listing of this finding aid.
Provenance:
The Lee Nordness business records and papers were donated to the Archives of American Art in several increments by Lee Nordness in 1976, 1986 and as a bequest in 1996. Original materials were also lent by Nordness in 1964 and 1969 for microfilming, some of which may have been included in subsequent donations.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Lee Nordness business records and papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art galleries, Commercial -- New York (State) -- New York  Search this
Art dealers -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Photographs
Citation:
Lee Nordness business records and papers, circa 1931-1992, bulk 1954-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nordlee
See more items in:
Lee Nordness business records and papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-nordlee
Additional Online Media:

Leonard Bocour papers and business records, 1933-1993

Creator:
Bocour, Leonard, 1910-1993  Search this
Subject:
Bocour Artist Colors (Firm)  Search this
Topic:
Drawing  Search this
Paint industry and trade  Search this
Interviews  Search this
Art  Search this
Diaries  Search this
Painting  Search this
Record number:
(DSI-AAA_CollID)6446
(DSI-AAA_SIRISBib)215590
AAA_collcode_bocoleon
Theme:
Diaries
Art Materials, Techniques, and Studio Art Education
Government Sponsorship of the Arts
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215590
Additional Online Media:

Business Records, A-Z (removed from loose leaf binders)

Collection Creator:
Lozowick, Louis, 1892-1973  Search this
Extent:
(4 folders)
Container:
Box 3, Reel 5897, Frame 1103-1455
Type:
Archival materials
Date:
1930s-1973
Collection Restrictions:
The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized requires an appointment. Glass plate negatives and lantern slides are housed separately and closed to researchers.
Collection Rights:
The Louis Lozowick 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:
Louis Lozowick Papers, 1898-1974. Archives of American Art, Smithsonian Institution.
See more items in:
Louis Lozowick papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-lozoloui-ref155

Jacques Français Rare Violins, Inc. Photographic Archive and Business Records

Creator:
Hermann, Emil, 1888-1968  Search this
Francais, Jacques, 1923-2004  Search this
Extent:
33.3 Cubic feet (60 document boxes, 30 binder boxes, 5 flat oversize)
Type:
Archival materials
Collection descriptions
Certificates
Photographs
Date:
1566-1998
Summary:
Jacques Français was a preeminent luthier, violin expert, and dealer in rare stringed instruments. Emil Herrmann was also a violin expert and dealer in rare violins. This collection contains photographic prints, negatives, certificates of authenticity, and sale books related to their business as dealers and authenticators of rare stringed instruments.
Scope and Contents:
This collection consists of a wide-ranging photographic survey of rare stringed musical instruments and bows. Many of these photographs were made in support of creating certificates of authenticity for a wide variety of stringed instruments. The photographs date exclusively to the 20th century and were the product of both the Français and Emil Herrmann rare violin shops. The collection also contains sale books from the Français violin atelier in Paris and New York and a small number of office files from the Français New York shop. There are minimal correspondence and office files, from either the Herrmann or Français shop, within the collection.

SERIES 1: STRINGED INSTRUMENT CERTIFICATES AND PHOTOGRAPHIC REFERENCE FILES, 1566-1959, undated. This series consists of Français and Herrmann's stringed instrument certificate files, photographic prints, and negatives. The date span of this series reflects the manufacture dates of the instruments pictured in the certificates as assigned by Jacques Français or Emil Herrmann. The series is arranged alphabetically by surname of the instrument maker. Copies of certificates were created in the office and used as a reference archive; information on many of them was not as detailed as that on a customer's certificate. Not all certificates were duplicated for the office archive and seldom, if ever, did they carry a date of creation. Loose photographs are labeled with the certificate number and filed with that certificate. If no certificate or certificate number was available to identify the extra material, it is filed separately in chronological order by the year of manufacture --if given. The year of manufacture is written on the photograph along with the date of the photograph (if any) from the accompanying envelope. Spelling of makers' names follows Français and Herrmann's original folder labeling; obvious misspellings have been corrected. The researcher is encouraged to check for alternative spellings. Photographs with undateds are filed at the back of folders or in a separate folder. Herrmann's certificates are often in German.

Also included in this series are photographic portfolios of violins by the photographic studio, P.S. Photo. The P.S. Photo portfolios are large format photographs. This series also contains the American Federation of Violin and Bow Makers (AFVBM) Photo Archive 1997 and Violin Photos, 1988. The photographer Herman Gordon's portfolio entitled "36 Famous Italian Violins" is in this series.

SERIES 2: BOW CERTIFICATES AND PHOTOGRAPHIC REFERENCE FILES, 1825, undated. This series consists of Français and Herrmann's bow certificate files, photographic prints, and negatives. The series is arranged alphabetically by surname of bow maker. Copies of certificates were created in the office and used as a reference archive; information on many of them was not as detailed as that on a customer's certificate. Not all certificates were duplicated for the office archive and seldom, if ever, did they carry a date of creation. Loose photographs are labeled with the certificate number and filed with that certificate. If no certificate or certificate number was available to identify the extra material, it is filed separately in chronological order by the year of manufacture --if given. The year of manufacture is written on the photograph along with the date of the photograph (if any) from the accompanying envelope. Spelling of makers' names follow Français and Herrmann's original folder labeling with obvious misspellings corrected. The researcher is encouraged to check for alternative spellings. Photographs with undateds are filed at the back of folders or in a separate folder. Herrmann's certificates are often in German.

SERIES 3: EMIL HERRMANN PHOTOGRAPHIC NEGATIVES, 1939-1951, undated. This series is divided into two subseries: Subseries A: Violins and Subseries B: Bows, Labels and Checks, 1939-1951, undated

Subseries A: Violins consists of large format negatives used by Emil Herrmann in creating his certificates of authenticity for violins. The negatives are arranged alphabetically by instrument maker. All original negative sleeves were copied and the negatives filed in the enclosures along with each copied sleeve. Original sleeves that were empty but with written information on them were copied and noted as "empty" on the reverse side of the copy. Herrmann on occasion used opaqing on his negatives to give a better print. (Français negatives, when they exist, are filed with the corresponding certificate and material in Series 1 and Series 2.)

Subseries B: Bows, Labels and Checks, 1939-1951, undated, consists of large format negatives used by Emil Herrmann in creating his certificates of authenticity for bows and for documenting violin maker labels and checks used for payment. It also includes the photographs of those labels and checks. The bow negatives are arranged alphabetically by instrument maker. The check negatives and photographs are arranged chronologically. All original negative sleeves were copied and the negatives filed in the enclosures along with each copied sleeve. Original sleeves that were empty but with written information on them were copied and noted as "empty" on the reverse side of the copy. Herrmann on occasion used opaqing on his negatives to give a better print. (Français negatives, when they exist, are filed with the corresponding certificate and material in Series 1 and Series 2.)

SERIES 4: SALE BOOKS, RECEIPTS AND OFFICE FILES, 1844-1998. This series consists of sale books and receipts from the Français shops in Paris and New York City. The books and receipts usually contain date of sale, person sold to, and amount of sale. They may also contain notations of repairs made, ownership, and provenance for violins and bows. This series is arranged chronologically and by type of record. The receipts are filed randomly, the majority of them written in French. Many of the early sale books are written in French. The pre-1901 entries and sale books are most likely for Gand & Bernardel Freres and subsequently for the House of Gustave Bernardel and Albert Caressa. Box 55 Folder 2 and Folder 4 are copies of Charles Gand's "Catalogue descriptif des instruments de Stradivarius et J Guarnerius", begun in 1870 with addition of violins and annotations by the successor firms of Bernardel, Carressa, and Francais. These ledgers provide detailed descriptions and provenance for many rare violins. It appears that entries were made in books over subsequent years with no thought to keeping books in a chronological fashion. The majority of office files are from the Français shop in New York City and include files on stolen instruments and one folder pertaining to the American Federation of Violin and Bow Makers (AFVBM). There are two folders of material from the Herrmann shop.
Arrangement:
The collection is arranged into four series.

Series 1: Stringed Instrument Certificates and Photographic Reference Files, 1566-1959, undated

Series 2: Bow Certificates and Photographic Reference Files, 1825, undated

Series 3: Emil Herrmann Photographic Negatives, 1931-1959, undated

Subseries 3.1: Violins

Subseries 3.2: Bows, Labels and Checks, 1939-1951, undated

Series 4: Sale Books, Receipts, and Office Files, 1844-1998
Biographical / Historical:
Jacques Français was born in Paris, France on July 3, 1924 the son of Emile Français and Lucile Caressa. His ancestry can be traced to the French town Mirecourt in Lorraine, the traditional center of French violin production. Jacques's grandfather, Henri Français, was an official violin maker to the Paris Conservatory. His maternal grandfather, Albert Caressa, was a violin and cello dealer. The House of Caressa & Français was one of the world's renowned violin making and repair shops. They had acquired the former House of Gustave Bernardel in 1901 (the former House of Gand & Bernardel Freres in Paris founded by Nicolas Lupot in 1796). Henri sold his share in the business to Albert at the end of World War I. The House of Caressa was eventually taken over by Emile Français in 1938. The shop remained open during the German occupation of Paris in World War II and closed in 1981 after the death of Lucile Caressa Français. The Paris shop was patronized by some of the greatest names in music.

Jacques Français's early training was in the Paris shop, beginning work at the bench at age twelve. At age eighteen he was apprenticed to violin maker Victor Aubry in Normandy. He completed his apprenticeship with George Apparut in Mirecourt. He then worked in his father's shop on Rue de Madrid and in the shop of Fridolin Hamma in Stuttgart, Germany. He was sent to New York City in 1947 and worked under Simone Sacconi in the shop of Rembert Wurlitzer. After a year Jacques returned to Paris to work in his father's establishment. A year later, Jacques returned to the United States and opened his own shop in New York on 57th St. near Carnegie Hall. He pursued a career in the repair and sale of rare violins independent of his father. Over the course of its lifetime the shop became well-known and was patronized by many of the preeminent names in the concert world.

Many photographic images in the Français Archive originate with rare violin dealer Emil Herrmann. Herrmann maintained a shop at 148 W. 57th St., New York City and later at 161 W. 57th St., just opposite Carnegie Hall and even later at 130 W. 57th St. After Herrmann's retirement, Français acquired his extensive certificate and photographic archive. In 1964, renowned luthier Rene A. Morel joined the Français shop and became a close business and personal associate of Français. Morel and Français worked together for the next thirty years. In 1985, Emmanuel Gradoux-Matt was employed by Jacques Français. He became shop foreman in 1990. On February 1, 1994 Jacques Français, Rare Violins, Inc. ceased business at 250 W. 54th Street. Morel and Gradoux-Matt remained at that address and renamed the company René A. Morel Rare Violins, Inc. Jacques Français died in New York City on February 4, 2004. He left a widow, Beatrice Français, and one surviving daughter, Isabelle Français. His nephew, Gael Francais, a student of both Francais and Morel, continues the family luthier tradition.

References (Copies may be found in the Archives Center control file): Français, Gael. "The Français House of Violin Making: A Retrospective," Journal, Violin Society of America, Volume XIX, No. 3, 2005, pgs. 3-22.

Martin, Douglas. "Jacques Francais, 80, Dealer in String Instruments, Dies," The New York Times, Febuary 8, 2004.

Miller, Stephen. "Jacques, Francais, 80, Dealer in Rare Violins," The New York Sun, Weekend Edition, undated.
Separated Materials:
The National Museum of American History, Division of Music, Sports and Entertainment holds instruments associated with the Français atelier, most notably the Axelrod Quartet of Antonio Stradivarius instruments (See accession numbers, 2000.0013, .01, .02, .03, .04).
Provenance:
This collection was bequeathed to the Smithsonian Institution, National Museum of American History, Archives Center, by Jacques Français in 2004.
Restrictions:
The collection is open for research use.

Researchers must use gloves when viewing this collection.
Rights:
Copyright for the Français items held by the Smithsonian Institution. Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions on works not created by Français. Reproduction permission from Archives Center: fees for commercial use.
Topic:
Appraisals  Search this
Musical instruments  Search this
Violin  Search this
Stringed instruments  Search this
Genre/Form:
Certificates
Photographs -- 20th century
Citation:
The Jacques Français Rare Violins, Inc. Archive, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0872
See more items in:
Jacques Français Rare Violins, Inc. Photographic Archive and Business Records
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0872
Additional Online Media:

Lee Nordness business records and papers, circa 1931-1992, bulk 1954-1984

Creator:
Nordness, Lee, 1922-1995  Search this
Subject:
Crawford, Ralston  Search this
Aronson, David  Search this
Gikow, Ruth Levine  Search this
Hebald, Milton  Search this
Prestopino, Gregorio  Search this
D'Arista, Robert  Search this
Williams, Hiram  Search this
Meigs, Walter  Search this
Levi, Julian E. (Julian Edwin)  Search this
Kearns, James  Search this
Lebrun, Rico  Search this
Zerbe, Karl  Search this
Gibran, Kahlil  Search this
Grippe, Peter J.  Search this
Blaustein, Al H.  Search this
Kachadoorian, Zubel John  Search this
Guglielmi, Louis  Search this
Forms and Objects (Firm)  Search this
Little Studio  Search this
Talent Discovery Company  Search this
Nordness Gallery  Search this
Lee Nordness Galleries  Search this
Cooper-Hewitt Museum  Search this
Johnson Wax  Search this
American Art Expositions (New York, N.Y.)  Search this
Metromedia, Inc  Search this
Topic:
Photographs  Search this
Scrapbooks  Search this
Art galleries, Commercial  Search this
Art dealers  Search this
Record number:
(DSI-AAA_CollID)7232
(DSI-AAA_SIRISBib)209372
AAA_collcode_nordlee
Theme:
The Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209372
Additional Online Media:

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