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Alexander Liberman papers

Creator:
Liberman, Alexander, 1912-1999  Search this
Names:
André Emmerich Gallery  Search this
Bennington College  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Solomon R. Guggenheim Museum  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Beaton, Cecil Walter Hardy, Sir, 1904-  Search this
Cartier-Bresson, Henri, 1908-  Search this
Chernow, Burt  Search this
Dalí, Salvador, 1904-  Search this
De Kooning, Willem, 1904-  Search this
Dietrich, Marlene  Search this
Emmerich, André  Search this
Frankenthaler, Helen, 1928-2011  Search this
Greenberg, Clement, 1909-1994  Search this
Hopps, Walter  Search this
Klein, William  Search this
Kline, Franz, 1910-1962  Search this
Leibovitz, Annie, 1949-  Search this
Motherwell, Robert  Search this
Mulas, Ugo  Search this
Namuth, Hans  Search this
Newman, Barnett, 1905-1970  Search this
Newton, Helmut, 1920-  Search this
Parks, Gordon, 1912-2006  Search this
Parsons, Betty  Search this
Penn, Irving  Search this
Picasso, Pablo, 1881-1973  Search this
Ritts, Herb  Search this
Snowdon, Antony Armstrong-Jones, Earl of, 1930-  Search this
Steichen, Edward, 1879-1973  Search this
Vogel, Lucien  Search this
Vreeland, Diana  Search this
Extent:
59 Linear Feet
Type:
Archival materials
Collection descriptions
Drafts (documents)
Drawings
Scrapbooks
Interviews
Photographs
Sketches
Sound recordings
Transcripts
Video recordings
Date:
circa 1912-2003
Summary:
The papers of sculptor, painter, and publishing executive Alexander Semeonovitch Liberman date from circa 1913-2003 and measure 59 linear feet. Found within the papers are biographical materials; correspondence with family, galleries, museums, and many artists; numerous recorded interviews and transcripts with and by Liberman, including one of Walter Hopps; writings and writing project files; extensive subject files maintained by Liberman; exhibition files; printed materials; scattered drawings; and extensive photographs of Liberman's artwork, exhibitions, Liberman, and of Liberman with notable artists, dealers, collectors, and critics. Many of the photographs were taken by noted photograhers. Also found within the papers are unidentified sound and video recordings. Additional sound and video recordings have been integrated into other series.
Scope and Contents:
The papers of sculptor, painter, and publishing executive Alexander Semeonovitch Liberman date from circa 1913-2003 and measure 59 linear feet. Found within the papers are biographical materials; correspondence with family, galleries, museums, and many artists; numerous recorded interviews and transcripts with and by Liberman, including one of Walter Hopps; writings and writing project files; extensive subject files maintained by Liberman; exhibition files; printed materials; scattered drawings; and extensive photographs of Liberman's artwork, exhibitions, Liberman, and of Liberman with notable artists, dealers, collectors, and critics. Many of the photographs were taken by noted photograhers. Also found within the papers are unidentified sound and video recordings. Additional sound and video recordings have been integrated into other series.

Biographical materials include awards, biographies and chronologies, family history materials, membership cards, writings by Liberman's mother, and a scrapbook about his father.

Correspondence is extensive and concerns both personal and professional affairs. It is with artists and photographers, art magazines, organizations and museums, art collectors, businesses, and family. Notable correspondents include Cecil Beaton, Henri Cartier-Bresson, Burt Chernow, Salvador Dali, Robert Motherwell, Helen Frankenthaler, Barnett and Annalee Newman, Additional correspondence is found within the subject files compiled and organized by Liberman (series 6).

There are sound and video recordings and transcripts of interviews with and by Liberman, most completed for broadcast television and radio shows. Of particular interest are sound cassettes, a sound tape reel, and a transcript of an interview with Walter Hopps by Liberman.

Writings by Liberman include essays, short stories, and a play entitled 2+1. Writing project files were organized by Liberman for writing projects for which he was the author, collaborator, or subject. There are numerous files concerning Barbara Rose's book about Liberman Alexander Liberman that also include recorded interviews with Liberman and transcripts. Other books for which there are files include The Art and Technique of Color Photography, The Artist in His Studio, Vogue: The First 100 Years, Vogue History of Fashion Photography, and others.

Subject files were organized by Liberman for a wide variety of work projects, activities, topics, and entities of interest. Files cover commissions, the filming and distribution of the 1981 documentary film Alexander Liberman: A Lifetime Burning, Liberman's personal collection of art, gifts of artwork, and his relationship with galleries and dealers, particularly André Emmerich Gallery.

Exhibition files document exhibitions of Liberman's artwork, and include those held at André Emmerich Gallery, Bennington College, the Guggenheim, Museum of Modern Art, among other venues. Files contain correspondence, contracts, photographs, plans and drawings, notes, etc. Also found are inventory records of Liberman's artwork in the form of lists, index cards, bound registers, and notes.

Ten linear feet of printed materials include exhibition announcements and catalogs, books and book flyers, brochures, calendars, clippings, postcards, posters, press releases, and other materials.

There are scattered drawings and sketches found within the papers, some of which are sketches of sculpture pieces.

Nearly one-half of the collection is comprised of photographs of Liberman and his artwork, and of artists and colleagues, many of which were taken by noted photographers, including Cecil Beaton, Henri Cartier-Bresson, William Klein, Henri Lartique, Annie Leibowitz, Inge Morath, Ugo Mulas, Hans Namuth, Helmut Newton, Gordon Parks, Irving Penn, Herb Ritts, and Lord Snowden, among others. Subjects of note found in the photographs include Alfred Barr, Salvador Dali, Marlene Dietrich, Willem de Kooning, Andre Emmerich, Helen Frankenthaler, Clement Greenberg, Franz Kline, Robert Motherwell, Barnett Newman, Betty Parsons, Pablo Piccaso, Edward Steichen, Lucien Vogel, and Diana Vreeland, among many others.
Arrangement:
The collection is arranged into twelve series. Photographs retain Liberman's original numerical and alpha schemas and the corresponding indexes are found in the Inventory Records in Series 8.

Series 1: Biographical Materials, circa 1930s-1999 (1 linear foot; Box 1, 56)

Series 2: Correspondence, 1944-1997 (4 linear feet; Boxes 1-5, 56, OV 65)

Series 3: Interviews, 1946-1996 (1.4 linear feet; Boxes 5-7, 56)

Series 4: Writings, 1948-1995 (0.9 linear feet; Boxes 7-8)

Series 5: Writing Project Files, 1951-1997 (1.8 linear feet; Boxes 8-9, 56)

Series 6: Subject Files, 1946-2000 (6 linear feet; Boxes 9-15, 56, OV 66-67)

Series 7: Exhibition Files, 1954-1991 (0.7 linear feet; Boxes 15-16, 56, OV 68)

Series 8: Inventory Records, 1938-1998 (6 linear feet; Boxes 16-22)

Series 9: Printed Materials, 1932-2003 (10 linear feet; Boxes 22-31, 56-57, OV 69)

Series 10: Artwork, circa 1940s-1990s (0.4 linear feet; Boxes 32, 57, OV 70)

Series 11: Photographic Materials, circa 1912-1999 (26 linear feet; Boxes 32-55, 57-64, OVs 71-77)

Series 12: Unidentified Sound and Video Recordings, circa 1941-1999 (0.8 linear feet; Boxes 55, 64)
Biographical / Historical:
Alexander S. Liberman (1912-1999) was a sculptor, painter, photographer, graphic designer, writer, and publishing executive who worked primarily in New York City. He held senior positions at Condé Nast Publications for 32 years.

Alexander Semeonovitch Liberman was born in 1912 in Kiev Russia. He was educated in London and the École des Beaux Art in Paris. He began his journalistic career in Paris at VU magazine owned by Lucien Vogel and there he befriended photographers Henri Cartier-Bresson, Brassai, Robert Capa, and André Kértesz. He served in the French army for a short time in 1940, but he and his family fled Paris in 1941 to New York City. Condé Nast hired Liberman in 1941 as an assistant to the art director of Vogue magazine. Liberman became art director in 1943 and editorial director of Condé Nast Publications in 1962, a position he held until his retirement in 1994.

Liberman was also a photographer whose subjects included Georges Braque, Alexander Calder, Alberto Giacometti, Henri Matisse, Pablo Picasso, and Marlene Dietrich, among others, many represented in his 1960 book entitled The Artist in his Studio and Marlene: An Intimate Photographic Memoir (1992). He was also the subject of the work of noted photographers Cecil Beaton, Irving Penn, Henri Cartier-Bresson, Gordon Parks, Lord Snowden, Jill Krementz, Henri Lartique, Annie Leibovitz, and Hans Namuth.

Liberman took up painting and sculpting in the 1950s. Although his first exhibition was at the Betty Parsons Gallery, he was primarily associated with the André Emmerich Gallery in New York City. His monumental sculptures were mostly assembled from industrial parts and painted and can be seen in museums and public sites worldwide.

Liberman was briefly married to Hildegarde Sturm. He married his second wife Tatiana Yacovleff du Plessix in 1942. Before their marriage, they fled occupied France together. She was a noted hat designer, working for Henri Bendel and Saks, where she became known as Tatiania of Saks. She died in 1991 and, in 1992, Liberman married Melinda Pechangco, a nurse who had earlier cared for Tatiania. Alexander Liberman died in 1999 in Miami, Florida.
Related Materials:
Related collections found at the Archives of American Art include the Dodie Kazanjian and Calvin Tomkins research materials on Alexander Liberman and numerous collections of gallery records.
Provenance:
The Alexander Liberman papers were donated to the Archives of American Art by Liberman Art Partners in 2010 via Dodie Kazanjian.
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 with no duplicate access copy requires advance notice.
Rights:
The Alexander S. Liberman 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.
Occupation:
Publishers -- New York (State) -- New York  Search this
Graphic designers  Search this
Topic:
Photographers -- New York (State) -- New York  Search this
Photography  Search this
Sculptors -- France -- Paris  Search this
Sculptors -- New York (State) -- New York  Search this
Fashion photography  Search this
Painters -- France -- Paris  Search this
Painters -- New York (State) -- New York  Search this
Photographers -- France -- Paris  Search this
Genre/Form:
Drafts (documents)
Drawings
Scrapbooks
Interviews
Photographs
Sketches
Sound recordings
Transcripts
Video recordings
Citation:
Alexander Liberman Papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.libealex
See more items in:
Alexander Liberman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-libealex
Additional Online Media:

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:

Henri Cartier-Bresson photographs of artists collection / Henri Cartier-Bresson, 1968

Creator:
Cartier-Bresson, Henri, 1908-2004  Search this
Subject:
Gabo, Naum  Search this
Rauschenberg, Robert  Search this
Duchamp, Marcel  Search this
Albers, Josef  Search this
Tworkov, Jack  Search this
Topic:
Artists  Search this
Photographs  Search this
Sculptors  Search this
Painters  Search this
Photographers  Search this
Record number:
(DSI-AAA_CollID)6079
(DSI-AAA_SIRISBib)216182
AAA_collcode_carthenr
Theme:
Lives of American Artists
Audio - Visual
Photography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216182

Henri Cartier-Bresson

Author:
Cartier-Bresson, Henri 1908-2004  Search this
Subject:
Cartier-Bresson, Henri 1908-2004  Search this
Physical description:
95 p. : chiefly ill. ; 21 cm
Type:
Books
Date:
1987
C1987
Call number:
TR647.C327 C3 1987
TR647.C327C3 1987
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_407508

About Russia

Author:
Cartier-Bresson, Henri 1908-2004  Search this
Subject:
Cartier-Bresson, Henri 1908-2004  Search this
Physical description:
1 v. (chiefly illus.) 27 cm
Type:
Books
Pictorial works
Place:
Soviet Union
Date:
1974
[1974]
Topic:
Photography, Artistic  Search this
Call number:
TR647.C327 V6 E1974
TR647.C327V6 E1974
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_274129

Tête à tête : portraits / by Henri Cartier-Bresson ; introduction by E.H. Gombrich

Author:
Cartier-Bresson, Henri 1908-2004  Search this
Gombrich, E. H (Ernst Hans) 1909-2001  Search this
Subject:
Cartier-Bresson, Henri 1908-2004  Search this
Physical description:
142 p. : ill. ports. ; 28 cm
Type:
Portraits
Date:
1998
C1998
Topic:
Portrait photography  Search this
Celebrities  Search this
Call number:
TR647.C327 G6 1998
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_537177

Henri Cartier-Bresson : Photographien und Zeichnungen

Author:
Cartier-Bresson, Henri 1908-2004  Search this
Galerie Beyeler  Search this
Subject:
Cartier-Bresson, Henri 1908-2004  Search this
Physical description:
62 p. : ill. ; 30 cm
Type:
Books
Exhibitions
Date:
1998
C[1998]
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_623010

Henri Cartier-Bresson : drawings 1970-1996, 22 March-26 April 1996 / with an introduction by James Lord

Author:
Cartier-Bresson, Henri 1908-2004  Search this
Lord, James  Search this
Berggruen & Zevi Limited  Search this
Subject:
Cartier-Bresson, Henri 1908-2004  Search this
Physical description:
[3], 35, [5] p. : ill. ; 24 cm
Type:
Exhibitions
Date:
1996
[1996]
Topic:
Drawing, French  Search this
Call number:
NC248.C323 A4 1996
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_643335

Henri Cartier-Bresson : drawings

Author:
Cartier-Bresson, Henri 1908-2004  Search this
Carlton Gallery  Search this
Subject:
Cartier-Bresson, Henri 1908-2004  Search this
Physical description:
[16] p. : chiefly ill. ; 26 cm
Type:
Books
Exhibitions
Date:
1975
[1975?]
Call number:
NC248.C323 A4 1975
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_651156

Henri Cartier-Bresson, dessins 1973-1981 : 20 mai-13 septembre 1981, Musée d'art moderne de la Ville de Paris

Author:
Cartier-Bresson, Henri 1908-2004  Search this
Musée d'art moderne de la ville de Paris  Search this
Subject:
Cartier-Bresson, Henri 1908-2004  Search this
Physical description:
[44] p. : ill. ; 30 cm
Type:
Books
Exhibitions
Date:
1981
Call number:
NC248.C323 A4 1981
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_657702

Henri Cartier-Bresson : Photographien und Zeichnungen : [Ausstellung 6. Juni-26. September 1998]

Author:
Cartier-Bresson, Henri 1908-2004  Search this
Galerie Beyeler  Search this
Subject:
Cartier-Bresson, Henri 1908-2004  Search this
Physical description:
62 p. : chiefly ill. ; 31 cm
Type:
Exhibitions
Date:
1998
[1998]
Topic:
Portrait photography  Search this
Drawing  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_708500

Henri Cartier-Bresson and Alberto Giacometti / editor, Tobia Bezzola

Author:
Bezzola, Tobia  Search this
Kunsthaus Zürich  Search this
Subject:
Cartier-Bresson, Henri 1908-2004 Friends and associates  Search this
Giacometti, Alberto 1901-1966 Friends and associates  Search this
Cartier-Bresson, Henri 1908-2004 Criticism and interpretation  Search this
Giacometti, Alberto 1901-1966 Criticism and interpretation  Search this
Physical description:
160 p. : ill. ; 26 cm
Type:
Books
Date:
2005
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_764923

Henri Cartier-Bresson

Author:
Cartier-Bresson, Henri 1908-2004  Search this
Subject:
Cartier-Bresson, Henri 1908-2004  Search this
Physical description:
95 p. : chiefly ill. ; 22 cm
Type:
Biography
Place:
United States
Date:
1976
C1976
Topic:
Photography, Artistic  Search this
Photographers  Search this
Call number:
TR647.C327 A6
TR647.C327 A6
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_88032

Henri Cartier-Bresson, the early work / Peter Galassi

Author:
Galassi, Peter  Search this
Cartier-Bresson, Henri 1908-2004  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Subject:
Cartier-Bresson, Henri 1908-2004  Search this
Physical description:
151 p. : ill. ; 26 x 27 cm
Type:
Books
Exhibitions
Date:
1987
C1987
Call number:
TR647.C327 G14
TR647.C327G14
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_331061

Line by line : the drawings of Henri Cartier-Bresson / foreword by John Russell ; introduction by Jean Clair

Author:
Cartier-Bresson, Henri 1908-2004  Search this
Clair, Jean 1940-  Search this
Subject:
Cartier-Bresson, Henri 1908-2004  Search this
Physical description:
97 p. : chiefly ill. (some col.) ; 29 cm
Type:
Books
Date:
1989
Call number:
N40.1.C318 C58 1989
N40.1.C318C58 1989
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_375626

Henri Cartier'Bresson, drawings and paintings : 3 June-29 July 1984, Museum of Modern Art / [exhibition organized by David Elliott with Carol Brown]

Author:
Cartier-Bresson, Henri 1908-2004  Search this
Brown, Carol  Search this
Elliott, David 1949-  Search this
Museum of Modern Art (Oxford, England)  Search this
Subject:
Cartier-Bresson, Henri 1908-2004  Search this
Physical description:
36 p. : ill. (some col.) ; 20 x 21 cm
Type:
Books
Exhibitions
Date:
1984
C1984
Call number:
N40.1.C318 E46 1984
N40.1.C318E46 1984
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_414500

America in passing / Henri Cartier-Bresson ; introduction by Gilles Mora ; designed by Robert Delpire

Author:
Cartier-Bresson, Henri 1908-2004  Search this
Subject:
Cartier-Bresson, Henri 1908-2004  Search this
Physical description:
149 p. : ill. ; 27 cm
Type:
Books
Pictorial works
Aerial views
Place:
United States
Date:
1991
C1991
Call number:
TR647.C327 C3a 1991
TR647.C327C3a 1991
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_415347

Henri Cartier-Bresson in India / foreword by Satyajit Ray ; introduction by Yves Véquaud

Author:
Cartier-Bresson, Henri 1908-2004  Search this
Subject:
Cartier-Bresson, Henri 1908-2004  Search this
Physical description:
128 p. : ill. ; 27 cm
Type:
Books
Pictorial works
Place:
India
Date:
1987
Call number:
TR647.C327 C3h 1987
TR647.C327C3h 1987
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_444719

Tête à tête : portraits / by Henri Cartier-Bresson ; introduction by E.H. Gombrich

Author:
Cartier-Bresson, Henri 1908-2004  Search this
Gombrich, E. H (Ernst Hans) 1909-2001  Search this
National Portrait Gallery (Smithsonian Institution)  Search this
Subject:
Cartier-Bresson, Henri 1908-2004  Search this
Physical description:
1 v. (unpaged) : ports. ; 31 cm
Type:
Portraits
Date:
1998
C1998
Topic:
Portrait photography  Search this
Celebrities  Search this
Call number:
TR647.C327 G6 1998b
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_550437

Henri Cartier-Bresson : neue Zeichnungen = Dessins récents / [Ausstellung und Katalog, Kunsthaus Zürich, Guido Magnaguagno]

Title:
Neue Zeichnungen
Dessins récents
Author:
Cartier-Bresson, Henri 1908-2004  Search this
Magnaguagno, Guido  Search this
Kunsthaus Zürich  Search this
Subject:
Cartier-Bresson, Henri 1908-2004  Search this
Physical description:
64 p. : ill. ; 29 cm
Type:
Books
Exhibitions
Date:
1998
C1998
Call number:
N40.1.C318x M3 1998
NC248.C323 A4 1998
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_552235

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