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Correspondence

Collection Creator:
Blaine, Nell, 1922-1996  Search this
Extent:
0.9 Linear feet (Boxes 1-2)
Type:
Archival materials
Date:
1879
1940-1985
Scope and Contents:
Correspondence is with artists, collectors, critics, family, friends, dealers, journalists, institutions, writers, and others. Notable correspondents include Kit Barker, Arthur Cohen, Irene Fisdell, Peggy Guggenheim, Midi Garth, Beatrice Gazzolo, Carolyn Harris, Galway Kinnell, Larry Rivers, John Von Wicht, Olga von Flotow, and others. Also found are illustrated letters by Lilian Kiesler, Richard leBland, and Nina Talbot.
Arrangement:
This series maintains Nell Blaine's original arrangement by type of correspondent for which Blaine provided annotations and additional information on noted correspondents.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Nell Blaine papers, 1879, 1940-1985. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.blainell, Series 2
See more items in:
Nell Blaine papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f00f6101-9874-4ad4-9f01-3f2ae3bfe283
EDAN-URL:
ead_component:sova-aaa-blainell-ref17

Illustrated Letters

Collection Creator:
Blaine, Nell, 1922-1996  Search this
Container:
Box 2, Folder 4
Type:
Archival materials
Date:
1981-1983
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Nell Blaine papers, 1879, 1940-1985. Archives of American Art, Smithsonian Institution.
See more items in:
Nell Blaine papers
Nell Blaine papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9702d81e4-eccf-47ac-978b-6de59b4575fb
EDAN-URL:
ead_component:sova-aaa-blainell-ref28

F. Luis Mora papers, 1891-1986, bulk 1891-1922

Creator:
Mora, F. Luis (Francis Luis), 1874-1940  Search this
Subject:
Downes, William Howe  Search this
Compton, Sophia  Search this
Twain, Mark (Man that corrupted Hadleyburg)  Search this
Stribling, T. S. (Thomas Sigismund) (Birthright)  Search this
Lotos Club (New York, N.Y.)  Search this
Armory Show (1913: New York, N.Y.)  Search this
Louisiana Purchase Exposition (Location of meeting: Saint Louis, Mo.). Date of meeting or treaty signing: (1904 :.)  Search this
Art Students League (New York, N.Y.)  Search this
National Academy of Design (U.S.)  Search this
Salmagundi Club  Search this
Type:
Diaries
Sketches
Illustrated letters
Christmas cards
Photographs
Awards
Place:
Spain -- description and travel
Citation:
F. Luis Mora papers, 1891-1986, bulk 1891-1922. Archives of American Art, Smithsonian Institution.
Topic:
Mural painting and decoration  Search this
Art -- Study and teaching  Search this
Muralists  Search this
Hispanic American artists  Search this
Painting, American  Search this
Theme:
Diaries  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)5508
(DSI-AAA_SIRISBib)210186
AAA_collcode_moraflui
Theme:
Diaries
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210186
Online Media:

Everett Shinn collection, 1877-1958

Creator:
Shinn, Everett, 1876-1953  Search this
Subject:
Young, Mahonri Mackintosh  Search this
Gibson, Charles Dana  Search this
Sloan, John  Search this
Dreiser, Theodore  Search this
Eddy, H. B.  Search this
Calder, Alexander Stirling  Search this
De Wolfe, Elsie  Search this
Fitch, Clyde  Search this
Luks, George Benjamin  Search this
Bigelow, Poultney  Search this
Scovel, Florence  Search this
Sale, Chic  Search this
Rains, Claude  Search this
Nolan, Philip  Search this
Glackens, William J.  Search this
Wollcott, Alexander  Search this
Warrick, Ruth  Search this
Henfold, Oliver  Search this
Hegan, Colonel  Search this
Haggin, Ben Ali  Search this
Grove, William  Search this
Marlowe, Julia  Search this
Lawson, Ernest  Search this
Henri, Robert  Search this
Washington Park Studio  Search this
Type:
Photographs
Sketchbooks
Scrapbooks
Notes
Illustrated letters
Poems
Citation:
Everett Shinn collection, 1877-1958. Archives of American Art, Smithsonian Institution.
Topic:
Painting, American  Search this
Illustrators -- New York (State) -- New York  Search this
Theaters -- Stage-setting and scenery  Search this
Painters -- New York (State) -- New York  Search this
Stage designers -- New York (State) -- New York  Search this
Theme:
Sketches & Sketchbooks  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)9402
(DSI-AAA_SIRISBib)211599
AAA_collcode_shinever
Theme:
Sketches & Sketchbooks
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211599
Online Media:

Kenyon and Louise Cox papers, 1876-1977

Creator:
Cox, Kenyon, 1856-1919  Search this
Subject:
Cox, Louise Howland King  Search this
Type:
Photographs
Illustrated letters
Citation:
Kenyon and Louise Cox papers, 1876-1977. Archives of American Art, Smithsonian Institution.
Topic:
Muralists -- New York (State) -- New York  Search this
Painting, American  Search this
Works of art  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)9410
(DSI-AAA_SIRISBib)211608
AAA_collcode_coxkenyl
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211608
Online Media:

Alfred J. Frueh papers, circa 1880-2010

Creator:
Frueh, Alfred Joseph, 1880-1968  Search this
Type:
Drawings
Christmas cards
Sketches
Illustrated letters
Photographs
Citation:
Alfred J. Frueh papers, circa 1880-2010. Archives of American Art, Smithsonian Institution.
Topic:
New Yorker (New York, N.Y. :1925)  Search this
Greeting cards  Search this
Caricatures and cartoons  Search this
Magazine illustration  Search this
Works of art  Search this
Illustrators -- New York (State) -- New York  Search this
Theme:
Diaries  Search this
Sketches & Sketchbooks  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)6364
(DSI-AAA_SIRISBib)215182
AAA_collcode_fruealfr
Theme:
Diaries
Sketches & Sketchbooks
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215182
Online Media:

Patricia Jordan papers

Creator:
Jordan, Patricia M., 1937-1989  Search this
Names:
Anger, Kenneth  Search this
Beattie, Paul, 1924-1988  Search this
Berman, Wallace, 1926-1976  Search this
Brakhage, Stan  Search this
Cornell, Joseph  Search this
Duncan, Robert Edward, 1919-  Search this
Herms, George, 1935-  Search this
Jess, 1923-  Search this
Jordan, Larry, 1934-  Search this
Snyder, Gary, 1930-  Search this
Extent:
2.4 Linear feet
Type:
Collection descriptions
Archival materials
Illustrated letters
Mail art
Photographs
Date:
1870
1949-1984
Summary:
The papers of San Francisco based Beat photographer Patricia Jordan measure 2.3 linear feet and date from 1870, 1949-1984. The papers include correspondence, much of it illustrated and with Beat artists and poets, writings, exhibition files, printed materials, photographs, and artwork.
Scope and Contents:
The papers of San Francisco based Beat photographer Patricia Jordan measure 2.3 linear feet and date from 1870, 1949-1984. The papers include correspondence, much of it illustrated and with Beat artists and poets, writings, exhibition files, printed materials, photographs, and artwork.

About one-half of the collection consists of correspondence; many items of which could be considered works of art or mail art. There are letters, illustrated letters, photographs, collages, postcards, greeting and holiday cards, and exhibition invitations. Letters are addressed to Patricia Jordan, her husband Larry, and/or daughter Lorna and are from family and friends, including many Beat artists and poets such as Kenneth Anger, Steve Arnold, Paul Beattie, Wallace Berman, Stan Brakhage, Jess Collins, Joseph Cornell (with whom Larry Jordan studied in 1965), Robert Duncan, George Herms, and Gary Snyder. Family letters are from Patricia's parents, sisters, daughter, and husband Larry.

The papers contain a large number of photographs and are primarily portraits taken by Patricia Jordan of friends and family including her husband Larry, daughter Lorna, Geroge Herms, and Wallace Berman. Many of the subjects are not identified. Some photographs are candid snapshots, while others are prints and test prints of images featured in the 1975 exhibition, "A Kind of Beatness," at Focus Gallery in San Francisco.

The remainder of the collection is comprised of scattered writings, exhibition files, printed material, and artwork.
Arrangement:
The collection is arranged as 6 series

Missing Title

Series 1: Correspondence, circa 1950-1977 (1.1 linear feet; Box 1, OV 4)

Series 2: Writings, circa 1959-1970s (0.1 linear foot; Box 2)

Series 3: Exhibition Files, 1962-1978 (0.1 linear foot; Box 2)

Series 4: Printed Material, circa 1920-1984 (0.2 linear feet; Box 2)

Series 5: Photographs, circa 1870-1970s (0.7 linear feet; Box 2-3)

Series 6: Artwork, 1949-circa 1970s (0.2 linear feet; Box 2-3)
Biographical / Historical:
Patricia Jordan (1937-1988) was a photographer and integral part of the Beat circle in San Francisco during the late 1950s and 1960s. Through her photography, she captured intimate portraits of the artists and poets in San Francisco at that time. Patricia Jordan, née Topalian, married Larry Jordan, assemblagist and avant-garde filmmaker, in the late 1950s. They lived in San Francisco, Larkspur, and finally settled in San Anselmo, California. Patricia and Larry Jordan had one daughter, Lorna, born in 1960.
Provenance:
Patricia Jordan donated her papers to the Archives of American Art in 1988.
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 Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Photographers -- California -- San Francisco  Search this
Topic:
Beat generation  Search this
Women artists  Search this
Women photographers  Search this
Genre/Form:
Illustrated letters
Mail art
Photographs
Citation:
Patricia Jordan papers, 1870, 1949-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.jordpatr
See more items in:
Patricia Jordan papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw985cd4ab0-f55c-4702-bec8-2a3579f6ebd4
EDAN-URL:
ead_collection:sova-aaa-jordpatr
Online Media:

Giulio V. Blanc papers

Creator:
Blanc, Giulio V.  Search this
Names:
Cuban Museum of Arts and Culture (Miami, Fla.)  Search this
Brito, María (1947-)  Search this
Cano, Margarita, 1932-  Search this
Cano, Pablo  Search this
Carreño, Mario  Search this
Carulla, Ramón, 1938-  Search this
Demi, 1955-  Search this
Garcia, Hernan, 1935-  Search this
Gattorno, Antonio  Search this
Gaztelu, A. (Angel)  Search this
Goldman, Shifra M., 1926-2011  Search this
Gómez-Peña, Guillermo  Search this
Lam, Wifredo  Search this
Larraz, Julio  Search this
Libin, Victoria  Search this
Macia, Carlos A., 1951-1994  Search this
Martínez-Cañas, María  Search this
Riverón, Enrique  Search this
Rodríguez, Arturo, 1956-  Search this
Sánchez, Juan, 1954-  Search this
Sí, Juan  Search this
Trasobares, César  Search this
Vater, Regina  Search this
Vázquez Lucio, Oscar E. (Oscar Edgardo), 1932-  Search this
Interviewee:
Cabrera, Lydia  Search this
Gómez Sicre, José  Search this
Extent:
11 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Date:
1920-1995
Summary:
The dates for the Giulio V. Blanc papers range from 1920-1995. Measuring a total of eleven linear feet and 0.001 GB, the collection provides documentation of the art exhibitions Blanc curated during his career, including original writings and exhibition catalogs. The extensive artists files in the collection provide information on numerous Latin American and Caribbean artists. The collection also provides historical information on the life and culture of Cuba.
Scope and Content Note:
The Giulio V. Blanc papers measure approximately 11 linear feet and 0.001 GB and date from 1920 to 1995. Compiled by Blanc since the beginning of his curatorial, writing, and research career in the 1980s, the papers consist primarily of artist files on Cuban, Cuban-American, and Latin American artists (1920-1995 and undated). Also found is biographical information (1994-1995), interviews by Blanc (1984-1987, 1994) and miscellaneous letters from artists and friends (1983-1995 and undated).

The first series, Biographical Files, 1994-1995 includes information about Blanc's career. Series 2: Miscellaneous Letters, 1983-1995, undated, consists of letters from artists and friends on various topics. Series 3: Artist Files, 1920-1995, undated, represents the bulk of the collection (approximately 300 artists in all, 6 linear feet), and contain materials either collected by Blanc or received by Blanc from the artists themselves. These consist of biographical material about the artist, usually two or three paragraphs written by Blanc, scattered resumes and copies of fellowship applications. Also found are newspaper clippings, exhibition announcements and catalogs, and letters or correspondence between Blanc and the artists. Of special interest in this series are numerous taped interviews with celebrated Cuban artists and art historians such as José Gómez Sícre, founder and first director of the Art Museum of the Americas, Organization of American States. Gómez-Sícre describes his early career and involvement with acquisitions for the museum's permanent collection as well as his working relationship with Alfred H. Barr, first director of the Museum of Modern Art in New York. Gómez-Sícre's notable book, Pintura Cubana de Hoy, published in Havana in 1944 is included in the files.

Elena Peláez de Medero, another interviewee, discusses her sister, Cuban painter Amelia Peláez (1896-1968). Blanc interviewed Elena Peláez in Miami for his 1988 exhibition Amelia Peláez: A Retrospective. The Peláez file includes Blanc's correspondence with her as well as copies of rare 1930s and 1940s exhibition catalogs from Amelia Peláez's early career. Among the catalogs is a copy of Modern Cuban Painters from the 1944 exhibition held at the Museum of Modern Art in New York. Also found are rare French, German and Spanish newspaper clippings on Peláez dating back to the 1920s. Of interest is a copy of Amado Blanco's 1937 poetry book, Poema desesperado. Published in Havana, the book is dedicated to the memory of Federico García Lorca and includes illustrations by Peláez.

Another prominent artist whom Blanc interviewed was Enrique Riverón (b. 1901) leader of the Cuban vanguardia. He was a member of El Grupo de Montparnasse, a talented group of painters and writers living in the southern district of Paris in the late 1920s, an area noted for its boisterous after-hour activities. The interview was published in the Journal of Decorative and Propaganda Arts in 1997. Also found in the papers are illustrated letters and greeting cards addressed to Blanc and his parents, Baron Lodovico Blanc and María V. Blanc.

Series 4: Exhibition Files, 1977-1995, undated, consists primarily of material Blanc compiled for exhibitions he curated. Found here are letters from museum directors, artists and colleagues, drafts and finished essays for exhibition catalogs, and printed material such as newspaper clippings of art reviews. This series also includes files on exhibitions Blanc did not curate.

Series 5: Subject Files, 1933-1995, undated, are files relating to Cuban art, culture, and society, the Cuban revolution, book projects, Biennials in Havana and São Paulo, the 1988 controversy surrounding the Cuban Museum of Arts and Culture (Miami, FL) and other topics. Found are letters, drafts of writings, notes, printed material such as newspaper clippings and magazine articles, press releases, and exhibition announcements.

Particularly extensive is the documentation about the 1980s conflict at the Cuban Museum of Arts and Culture. In April 1988, a fund-raising auction at the 24-year-old 'little Havana' institution resulted in heated disputes that escalated to violence. The works auctioned were by Cuban artists still living on the island. Many in Miami's Cuban community considered these artists to be supporters of the Communist regime and were outraged. One of the disputed works purchased the night of the auction, a drawing by Manuel Mendive, was taken across the street by its successful bidder and burned. In addition, the museum building was damaged by a pipe bomb shortly after the sale. In the National Public Radio news story (available in Blanc's papers on audio cassette) Helen Kohen, critic for the Miami Herald commented, "We're not talking about paintings. We're talking about `my brother's in jail'. That's what we're talking about." The situation intensified quickly; transcending local politics and involving the Treasury and Justice Departments, the American Civil Liberties Union, the Federal Bureau of Investigation, and Sotheby's and Christie's auction houses. Ramón Cernuda, the museum vice-president who organized the auction also had his personal collection of Cuban art impounded by the FBI. A second bombing took place in 1989 to protest an exhibition of Cuban artists who came to the U. S. during the early 1980s Mariel boatlift.

The seriousness of the conflicts in the Miami museum prompted the Museum of Modern Art in New York to withdraw an offer to lend three paintings to the Cuban museum for the 1988 exhibition Amelia Peláez: A Retrospective scheduled to open later that year. Curated by Giulio Blanc, it was the first U.S. retrospective of this important Cuban artist and the exhibition helped situate her work. The Cuban Museum of Art in Daytona Beach, an institution that helped start the Miami museum, also withdrew an offer to lend "Amelias". The result was an exhibition devoid of works owned by the Museum of Modern Art, important paintings created after 1963, the year President Kennedy imposed economic sanctions on Cuba.

To publicize the Peláez exhibition and boost attendance, the museum placed a public invitation in the Spanish section of the Miami Herald. The half page ad, also found in the Blanc papers, lists more than 100 intellectuals and professionals who supported the exhibition. Blanc stated in a letter to the Miami Herald, "It is horrifying to think there are those in Miami who would burn a painting for the sake of politics. This was the same reasoning utilized by Joseph Goebbels when he made bonfires of books and paintings by anti-Nazi and `degenerate' artists and writers in 1930s Germany... One can only pity the ignorance of those who play into the hands of the Castro regime by resorting to uncivilized tactics that can only hurt the image of the Cuban-exile community and of Miami in general."

The files concerning the Cuban Museum of Arts and Culture contain exhibition announcements, copies of court orders, press releases and correspondence between Blanc and the Museum of Modern Art in New York regarding the museum and the Peláez exhibition. Also included are a great number of newspaper articles printed in two of Miami's major newspapers, the Miami Herald and El Nuevo Herald which covered the story until it was resolved in the early 1990s. Offering additional information on the controversy are a number of letters addressed to either Blanc or his parents from artists and friends expressing either discontent with the museum's state of affairs or gratitude for the Blanc's financial support during the museum's reconstruction. These provide remarkable insight into a relatively heterogeneous Cuban community.

Series 6: Sound Recordings, 1992, 1994 consists of two untranscribed audio cassette tapes. One is of the 1992 College Art Association's session: Artistic Voices of Latin America: The Aesthetics of Anti-Colonialism held in Chicago, Illinois in which Giulio V. Blanc was a panelist. The other is a rare 1994 interview conducted by Blanc with poet-priest Monseñor Angel Gaztelu, a friend of many Cuban writers and artists, and who presided over Peláez's funeral service in 1968.

The last series, Series 7: Photographs, 1981-1993, undated, includes black and whiteportraits of artists, group shots of Blanc with "Miami Generation" artists María Brito, Pablo Cano, María Martínez-Cañas, Carlos Macía, Arturo Rodríguez, and César Trasobares, and photos of other artists.
Arrangement:
The Giulio V. Blanc papers are arranged into seven series primarily according to type of material. Within each series, materials are arranged chronologically, except for Artist Files and Subject Files which are arranged alphabetically by either name or subject.

Missing Title

Series 1: Biographical Files, 1994-1995, undated (box 1; 3 folders)

Series 2: Miscellaneous Letters, 1983-1995, undated (box 1; 3 folders)

Series 3: Artist Files, 1920-1995, undated (boxes 1-8, ER01; 6 linear ft., 0.001 GB)

Series 4: Exhibition Files, 1977-1995, undated (box 8; 1 linear foot)

Series 5: Subject Files, 1933-1995, undated (boxes 8-12; 2.5 linear feet)

Series 6: Untranscribed Sound Recordings, 1992-1994 (box 12; 2 folders)

Series 7: Photographs, 1981, 1993, undated (box 12; 2 folders)
Biographical Note:
Cuban born independent curator, critic, art historian and consultant Giulio V. Blanc (1955-1995) specialized in Cuban and Latin American art history and in his lifetime collected a wealth of material on the subject. Through his numerous exhibitions and keen articles appearing in national and international art journals, Blanc became a leading authority on Latin American art and successfully established himself as a link between Cuban and Cuban-American artists and US galleries and museums. The Miami Generation (1983) and Amelia Peláez: A Retrospective (1988) are two significant exhibitions Blanc curated for Miami's Cuban Museum of Arts and Culture in addition to the celebrated Wifredo Lam and His Contemporaries, 1938-1952 (1992) for New York's Studio Museum in Harlem. Giulio V. Blanc was among the key figures that catapulted Latin American art onto the mainstream in the early 1980s.

Giulio V. Blanc was born in Havana in 1955 to Baron Lodovico Blanc and María V. Blanc. The Blanc name hails from Italy and the title of Baron was awarded to Alberto Blanc, Lodovico Blanc's grandfather, while he was Secretary of State in 1873 under Victor Emmanuel II of Italy. As young advocates of Cuban culture, the Blanc's collected a number of paintings by Cuban artists but were forced to leave behind the works of Cuban masters such as Carlos Enríquez, Victor Manuel, René Portocarrero, Fidelio Ponce and others to facilitate an uncomplicated exodus from the country during the revolution. Lodovico and María were in their thirties and Giulio was five years old when the family settled in Miami.

Giulio Blanc completed his undergraduate education at Harvard and proceeded to Brown University and the Institute of Fine Arts in New York for graduate work (1979-1980). During his career, he served as an independent curator and consultant to The Cuban Museum of Arts and Culture (Miami), The Metropolitan Museum (Miami), and The Museum of Contemporary Hispanic Art (New York) among others. He also lectured on Latin American art history at the Art Museum of the Americas, OAS (Organization of American States), Washington, DC, The University of Miami, and El Museo Nacional de Arte in La Paz, Bolivia. In addition, he worked as a consultant in the Latin American Paintings Department at Sotheby's auction house in New York and served on the editorial board of the magazine Art Nexus. Blanc was pursuing a doctoral degree in art history at the City University of New York before his premature death in 1995 at the age of thirty-nine.

Missing Title

1955 -- Born November 1 in Havana, Cuba to Baron Lodovico and Baroness María V. Blanc, young collectors of Cuban art. The title of Baron was awarded to Alberto Blanc, Lodovico Blanc's grandfather, in 1873 while Alberto was Secretary of State under Victor Emmanuel II of Italy.

1960 -- The Blanc family migrates to the United States because of the escalating revolution. Lodovico and Maria V. Blanc are in their thirties when they flee the island. The works of Cuban painters such as Carlos Enríquez, Victor Manuel, René Portocarrero, Fidelio Ponce and others were left behind to facilitate an uncomplicated exodus.

1976 -- Giulio V. Blanc serves as research assistant for one year at the Tozzer Library, Peabody Museum, Harvard University.

1977 -- Graduates cum laude from Harvard College with a B.A. in Archeology.

1979 -- Graduates from Brown University with a M.A. in Archeology. Was a research assistant until 1980 at the Gallery of the Center for Inter-American Relations, New York city.

1980 -- Receives a certificate in Museum Studies from the Graduate School of Arts and Science, New York University. Curates Emilio Sánchez: Lithographs which opens at the Pagoda, Ransom-Everglades School, Coconut Grove, Florida. Co-curates Cuba in the Nineteenth Century for Miami's Miami-Dade Public Library.

1981 -- Joins the Latin American Paintings Department, Sotheby's Auction House, New York and serves for two years.

1982 -- Co-curates Young Hispanics, USA which opens at the Lehigh University Museum, Bethlehem, Pennsylvania and curates Ten Out of Cuba for INTAR Latin American Gallery in New York.

1983 -- Curates Cuban Fantasies at the Kouros Gallery in New York and Pablo Cano en Paris for the 4 Place de Saussaies in Paris, France. Also curates The Miami Generation: Nine Cuban-American Artists for the Cuban Museum of Arts and Culture in Miami and the Meridian House in Washington, DC.

1984 -- Serves as independent curator and consultant to Miami's Metropolitan Museum and Art Center and The Cuban Museum of Arts and Culture; The Museum of Contemporary Hispanic Art in New York and other institutions. Lectures at the Art Museum of the Americas (Organization of American States) in Washington, DC; The University of Miami; The Cuban Museum of Arts and Culture (Miami); The Center for the Fine Arts (Miami); Rockland Center for the Arts (West Nyack, NY); and the National Museum of Art, La Paz, Bolivia. Curates Young Collector's of Latin American Art which opened at Miami's Metropolitan Museum and Art Center.

1985 -- Curates Dancing Faces: An Exhibition of Mexican Masks for the Metropolitan Museum and Art Center in Miami and Nuevas Vistas: Latin American Paintings which opens at the Wistariahurst, Holyoke, Massachusetts. Curates Architecture in Cuban Painting, for the Miami Dade Public Library.

1986 -- Receives and M.A. in Art History at New York University's Institute of Fine Arts. Curates Carlos Enríquez for the Cuban Museum of Arts and Culture, Miami, Florida and Into the Mainstream: Ten Latin American Artists Working in New York for the Jersey City Museum in Jersey City, New Jersey.

1987 -- The exhibition Aurelia Muñoz: Selections, curated by Blanc, opens at the Metropolitan Museum of Art in Miami, Florida. Serves as juror for Expresiones Hispanas: Coors National Hispanic Art Exhibition, Denver, Colorado. Curates Visions of Self: The American Latin Artist for the Miami-Dade Community College gallery.

1988 -- Receives a grant from the NY State Council on the Arts for research on Cuban artist Wifredo Lam for the exhibition at the Studio Museum in Harlem, New York. Enrolls in the art history Ph.D. program at the City University Graduate Center, New York city. First bombing of the Cuban Museum of Arts and Culture in Miami takes place. Blanc's Amelia Peláez: A Retrospective successfully opens at the Cuban Museum of Arts and Culture despite much controversy.

1989 -- Curates Urgent Dream: New Work by Mario Bencomo at the Museum of Contemporary Hispanic Art (MoCHA), New York. Second bombing of the Cuban Museum of Arts and Culture, Miami FL.

1990 -- New York correspondent for Arte en Colombia, Bogota. Serves as adjunct lecturer at Queens College (CUNY) for the Fall semester. Curates the exhibition, The Post-Miami Generation for the Inter-American Gallery in Miami, Florida. Co-curates Figurative Perspectives: Six Artists of Latin American Background for the Rockland Center for the Arts, West Nyack, NY.

1991 -- Visiting scholar at University of Massachusetts at Amherst. Writes a small play, Tía Carmela: A Cuban Tragicomedy, illustrated by Cuban artist and friend Pablo Cano.

1995 -- Dies at the age of forty of AIDS related complications.
Related Materials:
Papers of Giulio V. Blanc, 1930-1982, are also located at the University of Miami Archival Collections.
Provenance:
Margherite Blanc, sister of Giulio V. Blanc, donated her brother's papers in 1998 to the Archives of American Art, Smithsonian Institution. This collection, along with numerous other Latino collections, was acquired through the 1996 Latino Art Documentation Project in South Florida. Initiated to chronicle the thriving art scene so apparent in the city's galleries, museums, and private collections, the project resulted in numerous acquisitions described in the revised edition of the Papers of Latino and Latin American Artists. Both the project and the publication were made possible, in part, with funding provided by the Smithsonian Institution's Center for Latino Initiatives.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- Florida -- Miami  Search this
Topic:
Cuban American art  Search this
Art, Latin American  Search this
Artists -- Cuba  Search this
Cuban American artists  Search this
Latino and Latin American artists  Search this
Genre/Form:
Sound recordings
Citation:
Giulio V. Blanc papers, 1920-1995. Smithsonian Institution. Archives of American Art.
Identifier:
AAA.blangiul
See more items in:
Giulio V. Blanc papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d3c414b1-dc78-4f66-889d-963690fe0282
EDAN-URL:
ead_collection:sova-aaa-blangiul
Online Media:

Ad Reinhardt postcards to Barbara Mason, 1951-1957 and undated

Creator:
Reinhardt, Adolph Friedrich, 1913-1967  Search this
Subject:
Mason, Barbara  Search this
Citation:
Ad Reinhardt postcards to Barbara Mason, 1951-1957 and undated. Archives of American Art, Smithsonian Institution.
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)10437
(DSI-AAA_SIRISBib)213838
AAA_collcode_reinadlt
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213838

Ad Reinhardt birthday card to Selina Trieff

Creator:
Reinhardt, Adolph Friedrich, 1913-1967  Search this
Trieff, Selina, 1934-2015  Search this
Type:
Correspondence
Date:
1955 Feb. 3
Citation:
Adolph Friedrich Reinhardt. Ad Reinhardt birthday card to Selina Trieff, 1955 Feb. 3. Selina Trieff papers, 1951-1981. Archives of American Art, Smithsonian Institution.
Topic:
Illustrated letters  Search this
Record number:
(DSI-AAA)5631
See more items in:
Selina Trieff papers, 1951-1981
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_5631
Online Media:

Ad Reinhardt Valentine to Selina Trieff

Creator:
Reinhardt, Adolph Friedrich, 1913-1967  Search this
Trieff, Selina, 1934-2015  Search this
Type:
Correspondence
Date:
1955 Feb. 18
Citation:
Adolph Friedrich Reinhardt. Ad Reinhardt Valentine to Selina Trieff, 1955 Feb. 18. Selina Trieff papers, 1951-1981. Archives of American Art, Smithsonian Institution.
Topic:
Illustrated letters  Search this
Record number:
(DSI-AAA)5632
See more items in:
Selina Trieff papers, 1951-1981
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_5632
Online Media:

Part diary, part excerpts

Collection Creator:
Craton, Forman H., 1902-1983  Search this
Container:
Box 1, Folder 5
Type:
Archival materials
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Forman H. Craton Collection, 1902-1983, Archives Center, National Museum of American History.
See more items in:
Forman H. Craton Papers
Forman H. Craton Papers / Series 1: Memoirs
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8bae24337-d973-4c4b-9c4f-d70692f1a418
EDAN-URL:
ead_component:sova-nmah-ac-0454-ref255
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Part diary, part excerpts digital asset number 1

Albert Henry Krehbiel papers

Creator:
Krehbiel, Albert Henry, 1873-1945  Search this
Names:
Art Institute of Chicago. School  Search this
Krehbiel, Dulah Evans, 1875-1951  Search this
Mies van der Rohe, Ludwig, 1886-1969  Search this
Extent:
2 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1893-1985
Scope and Contents:
Biographical material; correspondence; writings and notes; sketches; printed material and photographs document the life and career of Albert Henry Krehbiel.
Among the biographical documents is Krehbiel's marriage announcement. Correspondence, 1893-1945 and 1982-1985, consists mostly of illustrated letters from Krehbiel to his family and close friends. The earliest group of letters document his interest in the wheel. Another series, addressed to his sister Linda, includes a "Travel Log" of his transatlantic voyage to Europe and his sojourn there. Other letters written during the same years to his future wife, recount in detail his experiences as an American student in Paris and his travels. A group of letters written in the 1940s reveal Krehbiel's opinions on modern art and the social and political changes at the Cliff Dwellers, an important early Chicago art club. Also found are letters sent to Rebecca Krehbiel regarding her late father-in-law.
Writings and notes include Krehbiel's diary of 1938 containing impressions of Mies van der Rohe, newly appointed director of the Armour Institute. Krehbiel was the only in-place instructor that Mies van der Rohe kept on the staff; a 1906 notebook on Greek costumes, an undated notebook about murals for the State Capitol of South Dakota (Krehbiel did not receive the commission for these); typed proposals for murals in the State Capitol of South Dakota, and for the Supreme and Appellate court rooms in Springfield, Illinois, versions of a manuscript entitled "Life and the Model in Quick Sketches"; notebooks, 1930-1945, containing notes on art and other topics, journal entries, thumbnail sketches of his paintings and watercolors, and notes for talks; loose notes and sketches by Krehbiel and by his wife Dulah.
Published material about Krehbiel includes 1904, 1905 and 1906 issues of L'ACADEMIE JULIAN and newsclippings, 1907-1940 and undated. Photographs are of paintings by both Albert and Dulah Krehbiel, photographs of his studio and of Dulah posing for murals, and family photographs.
Biographical / Historical:
Art educator; mural painter; Chicago, Ill. Born in Iowa, Krehbiel was important as a teacher in Chicago. He was part of the conservative art establishment and painted in both an academic and Impressionist manner. Krehbiel helped set up the Chicago Art Institute Summer School of Painting in Saugatuck and later founded the Albert Krehbiel School of Painting there. He was on the faculties of the Art Institute from 1906-1945, and the Armour Institute, now Illinois Institute of Technology from 1913-1945. He began his studies at the Art Institute of Chicago in 1902. In 1903, he studied on scholarship at the Academie Julian in Paris under Jean-Paul Laurens. He remained in Europe until 1906, during which time he traveled and studied, winning four gold medals and the Prix de Rome. In 1906, he returned to Chicago, married a fellow artist, and joined the faculty of the Art Institute school. In 1907, he won a national competition for the murals in the Supreme and Appellate courtrooms in Springfield, Illinois.
Related Materials:
The Art Institute of Chicago, Institutional Archives holds papers of Dulah Evans Krehbiel and Albert Henry Krehbiel.
Provenance:
Lent for microfilming 1987 by Rebecca Krehbiel, daughter-in-law of Albert Krehbiel.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Muralists -- Illinois -- Chicago  Search this
Topic:
Muralists  Search this
Identifier:
AAA.krehalbe
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95163cfa3-6dec-49bb-aefb-bc0285d4d9f4
EDAN-URL:
ead_collection:sova-aaa-krehalbe

Henri Gallery records

Creator:
Henri Gallery (Washington, D.C.)  Search this
Names:
Abraham, Darryl  Search this
Anderson, Harry  Search this
Antin, Eleanor  Search this
Bickley-Green, Cynthia  Search this
Clements, Robert  Search this
Edelson, Mary Beth  Search this
Exton, Leslie  Search this
Greenly, Colin, 1928-  Search this
Herbert, Mimi  Search this
Ishida, Traute  Search this
Kogelnik, Kiki  Search this
Kohlmeyer, Ida, 1912-1997  Search this
McGowin, Ed, 1938-  Search this
Nakashima, Tom, 1941-  Search this
Outerbridge, Graeme, 1950-  Search this
Puryear, Martin, 1941-  Search this
Scanga, Italo, 1932-2001  Search this
Stackhouse, Robert  Search this
Van Brunt, Philip  Search this
Wilson, May, 1905-1986  Search this
Extent:
55.4 Linear feet
Type:
Collection descriptions
Archival materials
Illustrated letters
Greeting cards
Sketches
Drawings
Photographs
Date:
circa early 1900s
1940-1996
bulk 1957-1995
Summary:
The records of Henri Gallery, a Washington, D.C. gallery that showed painters from the Washington Color School and emerging artists, measure 55.4 linear feet and date from circa early 1900s, 1940 to 1996, with the bulk of the materials dating from 1957 to 1995. The gallery's relationship with artists and clients, exhibitions, sales, and other business is documented in alphabetical files containing a wide variety of materials, including correspondence, sales records, printed materials, photographs, slides, and motion picture film. Additional correspondence, newspaper clippings, 114 exhibition posters, scattered drawings, illustrated cards, and photographic materials are also found in the collection.
Scope and Contents:
The records of Henri Gallery, a Washington, D.C. gallery which showed painters from the Washington Color School and emerging artists, measure 55.4 linear feet and date from circa early 1900s, 1940 to 1996, with the bulk of the materials dating from 1957 to 1995. The gallery's relationship with artists and clients, exhibitions, sales, and other business is documented in alphabetical files containing a wide variety of materials, including correspondence, sales records, printed materials, photographs, slides, and motion picture film. Additional correspondence, newspaper clippings, 114 exhibition posters, scattered drawings, illustrated cards, and photographic materials are also found in the collection.

General Correspondence includes incoming business correspondence with artists, clients, galleries, and museums, regarding artwork, exhibitions, and other business issues. Also found here are holiday cards, handmade cards, and illustrated correspondence.

The bulk of the records consist of Alphabetical Files contains materials regarding artists, clients, exhibitions, galleries, museums, and various subjects of interest, originally arranged alphabetically by folder title. Folders range in quantity and variety of materials, including correspondence, printed materials, photographs, sales and consignment records, resumes, price lists, and exhibition records. There are especially rich or extensive files for Darryl Abraham, Harry Anderson, Cynthia Bickley-Green, Robert Clements, Mary Beth Edelson, Leslie Exton, Colin Greenly, Mimi Herbert, Traute Ishida, Kiki Kogelnik, Ida Kohlmeyer, Ed McGowin, Tom Nakashima, Graeme Outerbridge, Martin Puryear, Italo Scanga, Robert Stackhouse, Philip Van Brunt, and May Wilson. Of interest is the complete series of Eleanor Antin's 100 Boots postcards.

The bulk of Printed Materials are newspaper clippings regarding artists, exhibitions, and Henri Gallery. There are also 114 posters dating from 1959-1979 from Henri Gallery exhibitions and other galleries' exhibitions of artists in which the Henri Gallery represented.

Artwork is comprised of loose drawings and sketches, many of Henri. Photographic Materials contains black and white photographs, scattered color photographs, snapshots, and slides of artwork, exhibitions, Henri, the galleries spaces, and the Not New shop. Most photographs are undated.
Arrangement:
The collection is arranged as 5 series.

Missing Title

Series 1: General Correspondence, 1949-1996 (2.5 linear feet; Boxes 1-3, 55-56)

Series 2: Alphabetical Files, 1947-1996 (50.3 linear feet; Boxes 3-52, 55-57, OV58, FC 62-63)

Series 3: Printed Materials, circa early 1900s, 1940-1995 (1.2 linear feet; Boxes 52-53, 57, OVs 59-61)

Series 4: Artwork, 1952-circa 1996 (5 folders; Boxes 53, 57)

Series 5: Photographic Materials, 1940s-1981 (0.8 linear feet; Boxes 53-54, 57)
Biographical / Historical:
In 1957, Henrietta Ehrsam, known as "Henri," opened her eponymous gallery on South Royal Street in Alexandria, Virginia. Earlier, Henri and her partner Florie King had sold clothing, antiques, accessories and decorative arts alongside works of art at their consignment shop "Not New" in the same location.

In the 1960s, Henri showed painters Gene Davis, Thomas Downing, and Howard Mehring of the Washington Color School. In the summer of 1967, Henri Gallery moved to 1500 21st Street NW, closer to the Dupont Circle art galleries in Washington, D.C. Henri showed many young and emerging artists, including Cynthia Bickley-Green, William Christenberry, Mary Beth Edelson, Ed McGowin, and Robert Stackhouse. In 1970, Henri opened a second location, Henri 2, at 1875 Connecticut Ave. NW to exhibit large scale works. In 1972, Henri 2 held Martin Puryear's first solo exhibition in the United States. Henri passed away in 1996 and both gallery locations closed shortly thereafter.
Provenance:
Henri donated the Henri Gallery records in three accessions between 1980 - 1981. Henri's daughter, Helen Schnoebelen donated additional records in 1996.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Color-field painting  Search this
Function:
Art galleries, Commercial -- Washington (D.C.)
Genre/Form:
Illustrated letters
Greeting cards
Sketches
Drawings
Photographs
Citation:
Henri Gallery records, circa early 1900s, 1940-1996, bulk 1957-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.henrgall
See more items in:
Henri Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e6d9c638-50b1-44f1-bed4-cb0f248b615f
EDAN-URL:
ead_collection:sova-aaa-henrgall
Online Media:

Correspondence

Collection Creator:
Stendahl Art Galleries  Search this
Extent:
2 Linear feet (Boxes 1-3)
Type:
Archival materials
Date:
1923-1968
Scope and Contents:
The majority of correspondence is between Earl Stendahl and various artists and organizations regarding loans of artwork, sales and purchases, and artists' accounts. Correspondents include Alexander Archipenko, Federico Beltran-Masses, Federico Cantú, Jean Charlot, Couvoisier Galleries, Demotte Inc., Jerome Eddy, Lillian Genthe, Arthur Hill Gilbert, George B. Guthrie, Rockwell Kent, Carlos Mérida, Isamu Noguchi, and Ladislas Szecsi. Also, an illustrated letter from Gisella Loeffler to Stendahl can be found. Some files may include financial and printed material.
Collection Restrictions:
This collection is temporarily closed to researchers due to archival processing and digitization. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Stendahl Art Galleries Records, 1907-1971. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stenartg, Series 2
See more items in:
Stendahl Art Galleries records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f0089381-8cf7-4c1f-b710-ce1b96ef14f9
EDAN-URL:
ead_component:sova-aaa-stenartg-ref9

Correspondence

Collection Creator:
Lippard, Lucy R.  Search this
Container:
Box 44, Folder 26
Type:
Archival materials
Date:
1961-1975
Scope and Contents:
includes illustrated letter from Max Ernst to Lucy Lippard
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
See more items in:
Lucy R. Lippard papers
Lucy R. Lippard papers / Series 5: Exhibitions / "Max Ernst: Sculpture and Recent Painting" (1966)
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw942a29314-6974-4a6d-9f04-0642fd311a50
EDAN-URL:
ead_component:sova-aaa-lipplucy-ref918

Elise Asher papers, 1923-1994

Creator:
Asher, Elise, 1914-2004  Search this
Subject:
Guston, Philip  Search this
De Groot, Nanno  Search this
Mailer, Norman  Search this
Motherwell, Robert  Search this
Hofmann, Hans  Search this
Kunitz, Stanley  Search this
Tworkov, Jack  Search this
Stamos, Theodoros  Search this
Vonnegut, Kurt  Search this
Williams, William Carlos  Search this
Nevelson, Louise  Search this
Rothko, Mark  Search this
Frankenthaler, Helen  Search this
Bultman, Fritz  Search this
Type:
Christmas cards
Illustrated letters
Photographs
Slides (photographs)
Citation:
Elise Asher papers, 1923-1994. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Works of art  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)5827
(DSI-AAA_SIRISBib)208667
AAA_collcode_asheelis
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208667
Online Media:

Perls Galleries records

Creator:
Perls Galleries  Search this
Names:
Art Institute of Chicago  Search this
Fujikawa Gallery  Search this
Galerie Maeght  Search this
James Corcoran Gallery  Search this
Museum of Modern Art (New York, N.Y.)  Search this
National Gallery of Art (U.S.)  Search this
Pierre Matisse Gallery (New York, N.Y.)  Search this
Whitney Museum of American Art  Search this
Austin, Darrel, 1907-  Search this
Cafritz, Gwendolyn  Search this
Cafritz, Morris, 1886?-1964  Search this
Calder, Alexander, 1898-1976  Search this
Canaday, John, 1907-1985  Search this
De Menil, Adelaide  Search this
Dudensing, F. Valentine, 1892-1967  Search this
Ford, Henry, 1917-1987  Search this
Garbo, Greta, 1905-1990  Search this
Hitchcock, Alfred, 1899-  Search this
Luce, Claire  Search this
Luce, Henry, III, 1925-2005  Search this
Miró, Joan, 1893-  Search this
Perls, Klaus  Search this
Picasso, Pablo, 1881-1973  Search this
Priebe, Karl J., 1914-1976  Search this
Streisand, Barbra  Search this
Extent:
79.6 Linear feet
Type:
Collection descriptions
Archival materials
Illustrated letters
Drawings
Photographs
Date:
1937-1997
Summary:
The records of the Perls Galleries measure 79.6 linear feet and date from 1937 to 1997. Founded by Klaus Perls in 1937 and operating until 1997, the gallery dealt primarily in modern French art and the artwork of Alexander Calder. Found within the records are extensive correspondence (circa 44 linear feet) with artists, dealers, galleries, museums, and collectors; photographs and negatives of inventory and other artwork; exhibition files, scattered financial records; and exhibition catalogs and clippings.
Scope and Content Note:
The records of the Perls Galleries measure 79.6 linear feet and date from 1937 to 1997. Founded by Klaus Perls in 1937 and operating until 1997, the gallery dealt primarily in modern French art and the artwork of Alexander Calder. Found within the records are extensive correspondence (circa 44 linear feet) with artists, dealers, galleries, museums, and collectors; photographs and negatives of inventory and other artwork; exhibition files, scattered financial records; and exhibition catalogs and clippings.

Correspondence primarily discusses sales (and includes invoices), loans, and exhibitions, as well as more routine activities such as gallery maintenance, the printing of exhibition catalogs and letterhead, and the shipment, framing, or restoration of artwork. Many letters enclose photographs, negatives, or slides of artwork, and clippings. A few letters contain oversize architectural or engineering drawings, and a small handful of letters are illustrated.

Correspondents include artists such as Darrell Austin, Joan Mir, Pablo Picasso, and Karl Priebe; galleries such as the Corcoran Gallery, Fujikawa Galleries, Galerie Maeght, and the Pierre Matisse Gallery; museums such as the Art Institute of Chicago, the Museum of Modern Art, the National Gallery of Art, and the Whitney Museum of Modern Art; collectors such as Morris and Gwendolyn Cafritz, Adelaide de Mnil, Valentine Dudensing, and Henry Ford, II; and celebrity clients such as Greta Garbo, Alfred Hitchcock, Henry and Clare Booth Luce, and Barbra Streisand.

The records contain nearly thirty-two linear feet of photographs and negatives. Photographs are of artists and the inventory of the gallery's artwork. Additional photographs represent artwork either by artists not represented by the gallery or not included in the gallery's inventory. Most of the photographs are black and white. Over fifteen linear feet of negatives are of gallery stock. Photographs are also found in the exhibition files.

There is a relatively small amount of records relating to exhibitions, loans, and sales. Found are exhibition lists, schedules, invitations and announcements, photographs of exhibition installations, press releases, and records of loans to other institutions and galleries. Sales records include artist lists, inventory lists, invoices, pick up and delivery receipts, and price lists.

Printed materials include a large number of clippings and an incomplete run of catalogs from Perls Galleries exhibitions between 1939 and 1980.

The collection also includes ten original pencil drawings from John Canaday's series entitled My Beautiful Girls and a reproduction of eight drawings from the same series
Arrangement:
The collection is arranged as 7 series:

Missing Title

Series 1: Correspondence, 1937-1995 (Boxes 1-44, OV 81-83; 43.6 linear feet)

Series 2: Negatives, circa 1937-1995 (Boxes 44-59; 15.7 linear feet)

Series 3: Photographs, circa 1937-1995 (Boxes 60-75, OV 84; 16.1 linear feet)

Series 4: Exhibition, Loan, and Sales Records, 1937-1995 (Boxes 76-78; 2.1 linear feet)

Series 5: Clippings Files, 1943-1989 (Box 78; 0.5 linear feet)

Series 6: Exhibition Catalogs, 1939-1980 (Boxes 78-79; 1.4 linear feet)

Series 7: Drawings by John Canaday, circa 1967-1972 (Box 80; 0.3 linear feet)
Historical Note:
Klaus Perls (b. 1912, d. 2008) formally opened Perls Galleries in New York in 1937, and ran it with his wife Amelia until its closing in 1997. The gallery dealt in contemporary French artists of the School of Paris, such as Georges Braque and Pablo Picasso, but also acted as the primary representative of Alexander Calder beginning in 1954. In the 1970s Mr. Perls developed an interest in art from Benin and built an important collection of African sculpture, some of which was later donated to the Metropolitan Museum of Art. Amelia Perls died in 2002, and Klaus Perls died in 2008.

Klaus Perls was born in 1912 in Berlin in a house Mies van der Rohe designed for his parents, who owned an art gallery specializing in Impressionists, post-Impressionists, Old Master paintings, Pablo Picasso, Georges Braque, and African sculpture. Perls studied Art History in Hamburg and Munich but completed his PhD in Basel, Switzerland in 1933 after the Nazi government stopped awarding degrees to Jews. His dissertation covered the complete works of 15th-century French painter Jean Fouquet.

Before moving to New York in 1935, Perls worked for his mother, Kaethe Perls, in her Paris gallery that she opened in 1932 after splitting up with Klaus' father Hugo. He spent his first two years in New York selling paintings through other art dealers, primarily paintings shipped or recommended to him by his mother from Paris that were not selling well in the Depression-era French art market. These were primarily the work of Maurice Utrillo, Marie Laurencin, Raoul Dufy and Maurice de Vlaminck. In 1937 he formally established his own gallery, the Perls Galleries, on East 58th Street and continued to specialize in French and European contemporary art. Around the same time, his older brother Frank opened a gallery in Beverly Hills, California.

Klaus Perls was familiar with other New York dealers specializing in modern European art such as Valentine Dudensing and Pierre Matisse, but he tried to distinguish himself by catering to young collectors. When the war restricted the international art trade and his mother was forced to flee France during the Occupation, Perls began dealing in contemporary American artists such as Darrel Austin and Karl Priebe.

Perls married Amelia Blumenthal, fondly known as "Dolly," in 1940, and she became his business partner.

After the war, the international art market exploded, and the Perls made frequent buying trips to Europe. The Perls Galleries continued to sell primarily contemporary French art and gained an early reputation as a staunch defender of modern art by European artists such as Picasso, Modigliani, Braque, Lger, Soutine and Pascin. Perls prepared catalogues raisonns on Soutine and Pascin.

Klaus Perls was one of the founding members of the Art Dealer's Association, whose initial mission was to clean up the reputation of the art market following a series scandals involving fake antiquities that flourished in the 1960's. Perls was the Association's second president, after Pierre Matisse.

In 1954 Perls Galleries moved to 1016 Madison Avenue, a building that served as both gallery and home for the Perls. The same year Perls became Alexander Calder's dealer after the death of Calder's previous dealer, Curt Valentin. Perls explained his inclusion of Calder, a rare American among his stable of European artists, by saying that Calder's roots lay in France and that Calder bridged Europe and America the way Perls felt he did himself. In 1970, Calder designed the terrazzo sidewalk in front of the gallery and often resided in the Perls' home during long visits to New York City. Perls Galleries later handled Calder's estate and functioned as a quasi-archives of Calder's works, holding more than 7,000 negatives depicting Calder's art and preparing a Calder catalogue raisonn.

Klaus was named as a third-party defendant in the 1969 World War II looted art case Menzel v. List. When Erna Menzel sued Albert List for ownership of a Chagall painting confiscated from Menzel by the Nazis, List in turn sued Perls, who had sold him the painting in 1955, having purchased it himself from a Paris art dealer. The court awarded the Chagall painting to Menzel and ordered Perls to pay List the appreciated value of the painting.

Perls began building an important collection of African artwork and fell in love with art from Benin in the 1970's. In 1991 he donated more than 150 pieces of royal art from Benin to the Metropolitan Museum of Art.

The Perls closed their gallery in 1997; Amelia Perls died in 2002, and Klaus Perls died in 2008.
Related Material:
Among the resources relating to the Perls Galleries in the Archives of American Art is an oral history interview with Klaus Perls done by Mona Hadler on January 19, 1993.
Provenance:
The records were donated in 1997 by Douglas Mayhew, associate and legal representive of Klaus G. and Amelia B. Perls.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art, Modern  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Illustrated letters
Drawings
Photographs
Citation:
Perls Galleries records, 1937-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.perlgall
See more items in:
Perls Galleries records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9adaab16b-4838-4b64-9ff6-0cf04fa2f3fa
EDAN-URL:
ead_collection:sova-aaa-perlgall
Online Media:

Elise Asher papers

Creator:
Asher, Elise, 1914-  Search this
Names:
Bultman, Fritz, 1919-1985  Search this
De Groot, Nanno, 1913-1964  Search this
Frankenthaler, Helen, 1928-2011  Search this
Guston, Philip, 1913-1980  Search this
Hofmann, Hans, 1880-1966  Search this
Kunitz, Stanley, 1905-2006  Search this
Mailer, Norman  Search this
Motherwell, Robert  Search this
Nevelson, Louise, 1899-1988  Search this
Rothko, Mark, 1903-1970  Search this
Stamos, Theodoros, 1922-1997  Search this
Tworkov, Jack  Search this
Vonnegut, Kurt  Search this
Williams, William Carlos, 1883-1963  Search this
Extent:
1.6 Linear feet
Type:
Collection descriptions
Archival materials
Christmas cards
Illustrated letters
Photographs
Slides (photographs)
Date:
1923-1994
Summary:
The Elise Asher papers measure 1.6 linear feet and date from 1923 to 1994. The collection includes biographical material, letters, writings, works of art, business records, printed material, and photographs reflecting Asher's career as a poet, painter, and sculptor, and her friendships with many prominent artists of the mid-twentieth century.
Scope and Content Note:
The Elise Asher papers, 1923-1994, measure 1.6 linear feet and reflect Asher's career as a poet, painter, and sculptor, and her friendships with many of the more prominent artists of the mid-twentieth century. The collection contains biographical material, letters, writings, works of art, business records, printed material, and photographs.

Notable correspondents found in the collection include Fritz Bultman, Helen Frankenthaler, Philip Guston, Hans Hofmann, Norman Mailer, Robert Motherwell, Louise Nevelson, Mark Rothko, Theodoros Stamos, Jack Tworkov, and Kurt Vonnegut.
Arrangement:
The collection is arranged into seven series according to material type. The contents of each folder have been arranged chronologically.

Missing Title

Series 1: Biographical Material, 1923-1976 (box 1, 1 folder)

Series 2: Letters, 1941-1988, undated (box 1, 2 folders)

Series 3: Business Records, 1955-1988, undated (box 1, 43 folders)

Series 4: Writings, 1973-1979, undated (box 1, 4 folders)

Series 5: Artwork, undated (box 1, 2 folders)

Series 6: Printed Material, 1929-1994, undated (boxes 1-3, 30 folders)

Series 7: Photographs, 1951-1973, undated (box 2, 5 folders)
Biographical Note:
Born in Chicago, Illinois, in 1914, Elise Asher studied at the Art Institute of Chicago, Bradford Junior College, Boston College, and at Simmons College.

She began her career as a poet, culminating in a volume of her poetry entitled The Meandering Absolute. Upon her 1947 arrival in New York City, her attention turned to painting and sculpture. The Tanager Gallery mounted her first solo exhibition in 1953.

Asher was married to painter Nanno de Groot from 1949 to 1957. A year later she married poet Stanley Kunitz, whose work she often illustrated.
Provenance:
The Elise Asher papers were donated in 1975, 1976, 1989, 1990 and 1995 by the artist.
Restrictions:
The collection is open for research. Microfilmed portion must be consulted on microfilm. Use of unmicrofilmed material requires an appointment and is limited to the Washington D.C. research facility.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Poets -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Works of art  Search this
Genre/Form:
Christmas cards
Illustrated letters
Photographs
Slides (photographs)
Citation:
The Elise Asher papers, 1923-1994. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.asheelis
See more items in:
Elise Asher papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99a5d878c-4baa-45be-be3d-56ae368dc221
EDAN-URL:
ead_collection:sova-aaa-asheelis
Online Media:

Heinz Warneke papers, 1928-1987

Creator:
Warneke, Heinz (Heinrich), 1895-1983  Search this
Subject:
Archer, Edmund  Search this
Diederich, William Hunt  Search this
Hancock, Walker Kirtland  Search this
Hopper, Inslee  Search this
Zigrosser, Carl  Search this
Corcoran School of Art (Washington, D.C.)  Search this
United States. Work Projects Administration  Search this
Type:
Drawings
Sketchbooks
Citation:
Heinz Warneke papers, 1928-1987. Archives of American Art, Smithsonian Institution.
Topic:
Sculpture -- Study and teaching  Search this
Sculpture, Modern -- 20th century -- United States  Search this
Theme:
Sketches & Sketchbooks  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)6951
(DSI-AAA_SIRISBib)209080
AAA_collcode_warnhein
Theme:
Sketches & Sketchbooks
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209080

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