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Seymour Fogel : constructions, paintings and drawings, 1964-1984 : Nov. 7-Dec. 8, 1984 / [exhibition coordinator: David North]

Author:
Graham Modern (Gallery)  Search this
Graham Modern (Gallery)  Search this
Subject:
Fogel, Seymour 1911-1984  Search this
Physical description:
[16] p. : ill. ; 26 cm
Type:
Books
Exhibitions
Date:
1984
Call number:
N6537.F62 A4 1984
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_795624

Tate modern / [writen by Simon Wilson]

Author:
Wilson, Simon 1942-  Search this
Subject:
Tate Modern (Gallery)  Search this
Physical description:
5 p. (folded) : ill. (some col.) ; 16 cm
Type:
Books
Date:
2000
20th century
Topic:
Art, Modern  Search this
Call number:
N1130 .W55 2000
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_673216

Art spaces : the architecture of four Tates / Helen Searing

Author:
Searing, Helen  Search this
Subject:
Tate Gallery  Search this
Tate Modern (Gallery)  Search this
Tate Gallery Liverpool  Search this
Tate Gallery St Ives  Search this
Physical description:
136 p. : ill. (chiefly col.) ; 27 cm
Type:
Books
Place:
Great Britain
Date:
2004
2002
Topic:
Art museum architecture  Search this
Art museums  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_786912

Jeff Wall : photographs 1978-2004 / Sheena Wagstaff

Author:
Wagstaff, Sheena  Search this
Wall, Jeff 1946-  Search this
Tate Modern (Gallery)  Search this
Subject:
Wall, Jeff 1946-  Search this
Physical description:
79 p. : ill. (chiefly col. ill.) ; 29 cm
Type:
Exhibitions
Date:
2005
Topic:
Photography, Artistic  Search this
Call number:
TR647 .W358 2005b
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_791014

Seymour Fogel (1911-1984) : a memorial exhibition of sand paintings and sculpture / Seymour Fogel

Author:
Fogel, Seymour 1911-1984  Search this
Graham Modern (Gallery)  Search this
Subject:
Fogel, Seymour 1911-1984  Search this
Physical description:
[4] p. : ill. (some col.) ; 21 x 24 cm
Type:
Books
Exhibitions
Date:
1986
[1986?]
Call number:
N6537.F62 A4 1986
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_795627

Luc Tuymans / edited by Emma Dexter & Julian Heynen

Author:
Tuymans, Luc 1958-  Search this
Dexter, Emma  Search this
Heynen, Julian  Search this
Tate Modern (Gallery)  Search this
Kunstsammlung Nordrhein-Westfalen (Germany)  Search this
Subject:
Tuymans, Luc 1958-  Search this
Physical description:
123 p. : ill. (some col.) ; 28 cm
Type:
Books
Exhibitions
Date:
2004
C2004
Call number:
ND673.T85 A4 2004
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_780742

Matisse Picasso / Elizabeth Cowling, Anne Baldassari, John Elderfield ... [et al.]

Author:
Matisse, Henri 1869-1954  Search this
Picasso, Pablo 1881-1973  Search this
Cowling, Elizabeth  Search this
Baldassari, Anne  Search this
Elderfield, John  Search this
Tate Modern (Gallery)  Search this
Galeries nationales du Grand Palais (France)  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Subject:
Matisse, Henri 1869-1954  Search this
Picasso, Pablo 1881-1973  Search this
Physical description:
400 p. : ill. (chiefly col.), ports. ; 31 cm
Type:
Exhibitions
Date:
2002
C2002
20th century
Topic:
Art, French  Search this
Art, Spanish  Search this
Call number:
N6853.M33 A4 2002
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_680094

Albers and Moholy-Nagy : from the Bauhaus to the New World / edited by Achim Borchardt-Hume

Author:
Borchardt-Hume, Achim  Search this
Tate Modern (Gallery)  Search this
Kunsthalle Bielefeld  Search this
Whitney Museum of American Art  Search this
Subject:
Albers, Josef  Search this
Moholy-Nagy, László 1895-1946  Search this
Physical description:
190 p. : ill. (some col.), ports. ; 27 cm
Type:
Exhibitions
Place:
Germany
Europe
Date:
2006
Topic:
Modernism (Art)  Search this
Art, Abstract  Search this
Call number:
N6888.A43 A4 2006
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_787853

Martin Kippenberger / edited by Doris Krystof and Jessica Morgan ; with contributions by Daniel Baumann ... [et al.]

Author:
Kippenberger, Martin, 1953-1997  Search this
Krystof, Doris  Search this
Morgan, Jessica 1968-  Search this
Baumann, Daniel 1967-  Search this
Tate Modern (Gallery)  Search this
Kunstsammlung Nordrhein-Westfalen (Germany)  Search this
Subject:
Kippenberger, Martin 1953-1997  Search this
Physical description:
192 p. : ill. (chiefly col.) ; 25 cm
Type:
Exhibitions
Place:
Germany
Date:
2006
20th century
Topic:
Artists  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_794262

James Graham & Sons records

Creator:
James Graham & Sons  Search this
Names:
Coe Kerr Gallery  Search this
Duveen-Graham (Gallery)  Search this
Graham Gallery  Search this
Graham Modern (Gallery)  Search this
Cicero, Carmen, 1926-  Search this
Coheleach, Guy  Search this
Crile, Susan, 1942-  Search this
De Kooning, Elaine  Search this
Dickinson, Edwin Walter, 1891-1978  Search this
Duveen, Albert  Search this
Fogel, Seymour, 1911-1984  Search this
Fried, Nancy  Search this
Graham, Robert Claverhouse, 1913-1994  Search this
Kriesberg, Irving, 1919-  Search this
Melchers, Gari, 1860-1932  Search this
Perrine, Van Dearing, 1869-1955  Search this
Santlofer, Jonathan, 1946-  Search this
Schley, Reeve, 1936-  Search this
Stevens, Peter  Search this
Thorne, Joan, 1943-  Search this
Trieff, Selina, 1934-  Search this
Wyeth, Andrew, 1917-2009  Search this
Wyeth, Jamie, 1946-  Search this
Wyeth, N. C. (Newell Convers), 1882-1945  Search this
Extent:
103.2 Linear feet
Type:
Collection descriptions
Archival materials
Visitors' books
Scrapbooks
Photographs
Date:
1821
1815
circa 1896-2011
Summary:
The records of the New York City gallery James Graham & Sons measure 103.2 linear feet and date from 1815, 1821, circa 1896-2011 (bulk 1950s-1980s). The collection generally documents the gallery's contemporary art department during the time in which Robert Claverhouse Graham, Sr. worked at the gallery (1940-1979); records prior to 1954 are sparse and scattered. Gallery records include artist files; correspondence; exhibition files; financial records; inventory records; printed materials; sales, loans, and consignment records; scrapbooks; and photographic materials. Also found are records from Coe Kerr Gallery regarding exhibitions.
Scope and Content Note:
The records of the New York City gallery James Graham & Sons measure 103.2 linear feet and date from 1815, 1821, circa 1896-2011 (bulk 1950s-1980s). The collection generally documents the gallery's contemporary art department during the time in which Robert Claverhouse Graham, Sr. worked at the gallery (1940-1979); records prior to 1954 are sparse and scattered. Gallery records include artist files; correspondence; exhibition files; financial records; inventory records; printed materials; sales, loans, and consignment records; scrapbooks; and photographic materials. Also found are records from Coe Kerr Gallery regarding exhibitions of artwork by Jamie Wyeth, and to a lesser extent, Andrew and N.C. Wyeth.

Over the years, the gallery changed names and established contemporary art departments. In addition to records of James Graham & Sons, the collection holds the records of Duveen-Graham Modern Art (in partnership with Albert Duveen), Graham Gallery, Graham Modern, JG|Contemporary, and, to a lesser extent, The Clapp and Graham Co.

Alphabetical files are a mix of business correspondence and business records. The bulk of the series contains correspondence with galleries, museums, other institutions, and, to a lesser extent, clients regarding sales, consignments, and loans of artwork. Also found are materials relevant to the daily operations of the gallery, including correspondence, subject files, and scattered financial, business and legal records.

Exhibition files provide scattered documentation of the gallery's exhibitions through catalogs, clippings, correspondence, guest books, notes, photographs, press materials, price lists, and sales receipts and other financial records.

Artists' Files document the numerous artists who have been represented by the gallery, especially modern American artists. Folders for each artist can contain a variety of materials, including correspondence with the artist or with institutions regarding consignments, loans, sales and exhibitions; photographic materials primarily of artwork; sales invoices; exhibition catalogs, postcards, and other printed materials; press releases; magazine and newspaper clippings; price lists; artist binders; and research materials on artists and artwork. Also found are some subject files, per original arrangement. There is extensive material related to artists Carmen Cicero, Susan Crile, Elaine De Kooning's portrait of President John F. Kennedy, Edwin Dickinson, muralist Seymour Fogel, Nancy Fried, Irving Kriesberg, Gari Melchers, Jonathan Santlofer, Reeve Schley, Peter Stevens, Joan Thorne, and Selina Trieff.

Artwork files document sales, consignments, and loans of artwork primarily from the mid-1980s to 2000s. Materials include agreements and contracts; condition reports; correspondence; invoices and receipts; photographs of artwork; shipping records; and photocopied printed material and other documentation. This series requires written permission from the donor in order to access.

Sales records from 1959-1984 (missing 1974) are found in the Financial Records series. Also found are check stub books from the mid-late 1950s; price lists; records for the Four Seasons Charter Corp.; and scattered banking, consignment, tax, and other financial records. Inventory cards from mid-1950s-1970s and inventory lists, often with notations and prices, are found in the series Inventory Records.

Coe Kerr Gallery Records regarding the Wyeths document Jamie Wyeth's exhibitions primarily from the mid-1970s-early 1980s. Also found is limited material regarding Andrew Wyeth and N.C. Wyeth. Materials include correspondence, photographs, exhibition printed materials, and extensive newspaper clippings.

There are exhibition catalogs, books, announcements, magazines, clippings, postcards, posters and other printed materials related to artists, John Graham & Sons exhibitions, and exhibitions by Graham artists held at other galleries and museums. Also found is an 1815 fifty cent note which was redeemed in 1821.

Seven scrapbooks document discrete aspects of the business, including the gallery's advertising, participation in an art fair, and the careers of artists Guy Coheleach and Van Dearing Perrine. Materials housed in the scrapbooks include clippings, catalogs, photographs, and other printed materials.

Photographic Materials include mostly black and white photographs, negatives, slides and transparencies of artwork; scattered photographs of installations, artists, and the gallery; and a handful of personal snapshots. The bulk of the photographs are undated, but were likely printed between 1950s-1990s.
Arrangement:
The collection is arranged as 10 series:

Series 1: Alphabetical Files, circa 1896, 1902-1999, bulk 1955-1986 (Boxes 1-15; 15 linear feet)

Series 2: Exhibition Files, 1912, 1947-2004 (Boxes 16-24; 8 linear feet)

Series 3: Artists' Files, circa 1907-2006, bulk 1955-1999 (Boxes 24-62, 95-96; 39.1 linear feet)

Series 4: Artwork Files, circa early 1900s-2011, bulk mid-1980s-2009 (Boxes 63-71, 94, 101; 9.3 linear feet)

Series 5: Financial Records, circa 1937-1993 (Boxes 72-76, 96; 4.5 linear feet)

Series 6: Inventory Records, circa 1954-1993 (Boxes 76-78, 96; 2.1 linear feet)

Series 7: Coe Kerr Gallery Records Regarding Wyeths, 1964-1988 (Boxes 78-80, 97; 2.7 linear feet)

Series 8: Printed Materials, 1815, 1821, 1949-2006 (Boxes 81-82, 97; 2.1 linear feet)

Series 9: Scrapbooks, 1897-1990s (Boxes 82, 98-100; 0.9 linear feet)

Series 10: Photographic Materials, 1929-1990s (Boxes 83-93, 96, 100-101; 11.5 linear feet)
Historical Note:
The James Graham & Sons gallery has been owned and managed by the Graham family in New York City since 1857. Throughout its history, the gallery has specialized in decorative arts, antiques, and 19th-early 20th century and contemporary American art.

In 1857, Samuel Graham founded a gallery at 66 Third Street and specialized in furniture. Graham was joined by his son James in the 1880s and expanded the business to include antiques and decorative arts. James A. Graham, the third generation Graham, joined the gallery in the early 20th century. James Graham and antiques dealer Marshall Clapp created Clapp & Graham in 1914, a partnership which was dissolved around 1940.

James R. Graham, the fourth generation Graham, joined the gallery in 1937, followed by his brother Robert Claverhouse Graham, Sr. in 1940. The gallery was then named James Graham & Sons and was located at 514 Madison Avenue. At this time, the gallery specialized in bronzes, ceramics, silver, sculptures, and 19th-early 20th century American art. Robert C. Graham, Sr. introduced modern American art, especially The Eight, into the gallery's inventory.

In 1955, the gallery moved to 1014 Madison Avenue, where it remained until the late 2000s. That same year, Graham opened its first contemporary department with Albert Duveen. Duveen-Graham Modern Art gallery was based on the third floor of the Madison Avenue building and dealt solely in contemporary art until its closing in 1958. Robert C. Graham, Jr. (Robin) joined the gallery in 1963, becoming the fifth generation Graham to run the family business. The gallery is currently located at 32 East 67th Street.

Betsy Fahlman's "James Graham & Sons: A Century and a Half in the Art Business" (2007) was a valuable resource in constructing this Historical Note.
Related Material:
Among the other resources relating to James Graham & Sons in the Archives of American Art is an oral history interview with Robert Claverhouse Graham, November 19, 1976, and the David Herbert papers, 1950-1995.
Provenance:
The James Graham & Sons records were donated in three accessions in 2007, 2008, and 2012 by Priscilla Caldwell and Jay Grimm of James Graham & Sons.
Restrictions:
Use of original papers requires an appointment. Artwork Files (Boxes 63-71, 94) and some photographic materials (Box 93 and 101) require written permission to access.
Rights:
The James Graham & Sons 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 -- Economic aspects  Search this
Painting -- United States  Search this
Sculpture -- United States  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Visitors' books
Scrapbooks
Photographs
Citation:
James Graham & Sons records, 1815, 1821, circa 1896-2011, bulk 1950s-1980s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.jamegras
See more items in:
James Graham & Sons records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-jamegras
Additional Online Media:

Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009

Creator:
Hammersley, Frederick, 1919-2009  Search this
Subject:
Hammersley, Anna Westberg  Search this
Chuey, Robert  Search this
McLaughlin, John  Search this
Hammersley, Harold  Search this
Stone, Susie  Search this
Lebrun, Rico  Search this
Nowells, Lu  Search this
Brice, William  Search this
Benjamin, Karl  Search this
L.A. Louver Gallery  Search this
Chouinard Art Institute (Los Angeles, Calif.)  Search this
Pomona College (Claremont, Calif.)  Search this
Modernism (Gallery)  Search this
Hoshour Gallery  Search this
Topic:
Essays  Search this
Sound recordings  Search this
Painters  Search this
Art teachers  Search this
Lectures  Search this
World War, 1939-1945  Search this
Sketches  Search this
Painting, Abstract  Search this
Computer art  Search this
Scrapbooks  Search this
Designs  Search this
Greeting cards  Search this
Interviews  Search this
Photographs  Search this
Visitors' books  Search this
Drawings  Search this
Color in art  Search this
Prints  Search this
Diaries  Search this
Video recordings  Search this
Sketchbooks  Search this
Awards  Search this
Lecture notes  Search this
Record number:
(DSI-AAA_CollID)7270
(DSI-AAA_SIRISBib)209421
AAA_collcode_hammfred
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209421
Additional Online Media:

Frederick Hammersley papers

Creator:
Hammersley, Frederick, 1919-2009  Search this
Names:
Chouinard Art Institute (Los Angeles, Calif.)  Search this
Hoshour Gallery  Search this
L.A. Louver Gallery  Search this
Modernism (Gallery)  Search this
Pomona College (Claremont, Calif.)  Search this
Benjamin, Karl  Search this
Brice, William, 1921-2008  Search this
Chuey, Robert  Search this
Hammersley, Anna Westberg  Search this
Hammersley, Harold  Search this
Lebrun, Rico, 1900-1964  Search this
McLaughlin, John, 1898-  Search this
Nowells, Lu  Search this
Stone, Susie  Search this
Extent:
34.75 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Drawings
Greeting cards
Scrapbooks
Sketches
Interviews
Photographs
Lectures
Prints
Essays
Sketchbooks
Lecture notes
Sound recordings
Video recordings
Designs
Visitors' books
Awards
Place:
Europe -- description and travel -- photographs
Date:
circa 1860-2009
bulk 1940-2009
Summary:
The papers of Los Angeles Abstract Classicist painter and educator Frederick Hammersley measure 34.75 linear feet and date from circa 1860-2009, bulk 1940-2009. The papers contain biographical materials, 32 diaries, family and professional correspondence, personal business and financial records, estate records, writings, graphic design projects, teaching files, printed materials, scrapbooks, photographs, and works of art.
Scope and Contents:
The papers of Los Angeles Abstract Classicist painter and educator Frederick Hammersley measure 34.75 linear feet and date from circa 1860-2009, bulk 1940-2009. The papers contain biographical materials, 32 diaries, family and professional correspondence, personal business and financial records, estate records, writings, graphic design projects, teaching files, printed materials, scrapbooks, photographs, and works of art. 2015 and 2018 additions include a diary possibly written by Hammersley's mother, photograph albums and photographs, sketches and block prints, computer printouts, and hand painted grid color boxes used by Hammersley in teaching color theory.

Biographical materials include resumes and biographies, calendars, military records, family genealogies, school records, high school and college yearbooks, and awards. There are also sound and video recordings of talks, interviews, and television appearances. Scattered materials relating to Hammersley's parents, Anna Westberg Hammersley and Harold Hammersley, are also found in the series.

Correspondence consists of letters from family and close friends as well as business correspondence with collectors and professional art associations. Family correspondents include Hammersley's immediate family and aunts and cousins. Additional noteworthy correspondents include fellow artists Karl Benjamin, William Brice, Robert Chuey, Rico Lebrun, and John McLaughlin, among others.

There are 23 diaries written by Frederick Hammersley dating from 1935-2008, with a gap spanning 1954-1972. Also found are six diaries written by Harold Hammersley dating from 1940-1959 and three by Anna Hammersley from 1909-1965.

Hammersley's writings include college class notes, essays, poetry, lecture notes, grant applications, and proposals. There are also sound recordings of lectures and talks as well as drafts and a final copy of an article published in the journal Leonardo in 1970.

Teaching files consist of class lecture notes, student evaluations, and grade books for classes likely taught at Pomona University and the Chouinard Art Institute.

Graphic design projects contain materials from Hammersley's company Handsome Cards for which he designed greeting and holiday cards. Also included are various freelance designs and draft designs for exhibition catalogs. General financial and business records focus on Hammersley business relationships and transactions with galleries and museums and his efforts to promote his art. Galleries and museums represented in the files include Modernism Gallery (San Francisco), L.A. Louver Gallery (Venice, California), and Hoshour Gallery (Albuquerque). This series also contains tax returns and expense ledgers. Also found are scattered materials from the household of Anna and Harold Hammersley.

Estate records are found for Frederick Hammersley, Susie Hammersley Stone, Anna and Harold Hammersley, Frederick Hammersley Sr., Mrs. E. Hammersley, Maude Eliza Hammersley, Dorothy Hutchinson Hammersley, and Basil Edward Pratt. These files include wills and yearly financial reports.

Printed material consists of newspaper and magazine clippings, exhibition catalogs and announcements, and printed copies of Hammersley's graphic designs. The series is extensive and contains clippings and exhibition material that represents Hammersley's entire career as an artist. Also found are packets of printed materials created by Hammersley to represent the careers of his friends and colleagues.

Scrapbooks consist of eleven "scrapfiles," postcard albums, and clippings scrapbooks created by Frederick Hammersley and Anna Hammersley. Scrapfiles refers to the original title created by the Hammersleys. Frederick's scrapbooks contain clippings of art, criticisms of his work, and news mentions of his career. Anna's scrapbooks contain one postcard album and 4 scrapbooks and scrapfiles of news clippings relating to subjects of her personal interest.

Photographs include snapshots of Hammersley; images of Hammersley with family and friends; travel photographs, many of them taken in Europe during World War II; photographs of exhibitions; and photographs of Hammersley's artwork. Most of the photographs were labeled and dated by Hammersley. There are six photo albums created by Frederick Hammersley and four albums compiled by his parents Harold and Anna Hammersley.

Artwork consists of Hammersley's sketchbooks, drawings, and paintings from high school and college classes, designs for exhibition catalogs, and cards and printouts for his computer drawings series. Also included are geometric color studies on panel and artwork for a bank mural proposal from 1977. Drawings and design work by Susie Stone, Hammersley's sister are also included, as well as two works by Lu Nowels.
Arrangement:
The collection is arranged as 12 series.

Series 1: Biographical Material, 1919-2008 (2.5 linear feet; Box 1-3, 31, 33, 37)

Series 2: Correspondence, circa 1900-2009 (3.1 linear feet; Box 3-6, 37)

Series 3: Diaries, 1909-2008 (2.1 linear feet; Box 6-8, 37)

Series 4: Writings, Lectures, and Notes, circa 1940-2009 (0.6 linear feet; Box 8-9, 37)

Series 5: Teaching Files, circa 1950-1993 (0.2 linear feet; Box 9)

Series 6: Graphic Design Projects, circa 1945-1980 (0.4 linear feet; Box 9-10, 31)

Series 7: Personal Business and Financial Records, 1897-2008 (3.2 linear feet; Box 10-13, 24, 33, 35, 37)

Series 8: Estate Records, 1898-2001 (0.7 linear feet; Box 13, 24, 37)

Series 9: Printed Material, 1945, 2011 (3.6 linear feet; Box 13-17, 31, 37, 42, OV45)

Series 10: Scrapbooks, circa 1890-1960s (3.3 linear feet; Box 17-18, 25-29)

Series 11: Photographs, circa 1860s-2007 (10.7 linear feet; Box 18-23, 29-31, 37-43)

Series 12: Artwork and Artifacts, 1934-2009 (3.2 linear feet; Box 22, 31-32, 35, 38, 42, 44, OV46-56)
Biographical / Historical:
Painter, graphic designer, and educator Frederick Hammersley (1919-2009) spent most of his career in Los Angeles and New Mexico. He is closely associated with the hard-edge abstraction painting style of the Abstract Classicists of Southern California.

Hammersley was born on January 5, 1919 to Anna Westberg and Harold Hammersley in Salt Lake City, where his father worked for the U.S. Department of the Interior. The family lived in Utah and Idaho before finally settling in San Francisco. Hammersley attended the University of Idaho and later enrolled in the Academy of Advertising Art in San Francisco. In 1940, Hammersley began taking classes at the Chouinard Art Institution in Los Angeles.

Hammersley's studies were interrupted by World War II military service from 1942 to 1946. He was stationed first in Paris as a draftsman in the Signal Corp and was eventually promoted to Army sargeant in the Office of Military Government in Berlin. While in Paris, he visited Picasso's studio several times and also took classes at the Ècole des Beaux Arts at the end of the war. When he returned home in 1946, the GI Bill subsidized his final year of study at Chouinard, now the California Institute of Arts, and three years at the Jepson Art Institute in Los Angeles.

Hammersley made his living as an art professor in California for twenty years, where he taught at the Jepson Art Institute and Pomona College in Claremont. He moved to Albuquerque after accepting a teaching position at the University of New Mexico in 1968. In 1971, Hammersley resigned his teaching position and devoted himself to painting.

Hammersley's reputaton as a painter began in 1948 when one of his small paintings was accepted in an annual exhibition at the San Francisco Museum of Modern Art. In 1958, several of his works were included in the seminal exhibition Four Abstract Classicists, organized by Jules Langsner and Peter Selz and shown at the Los Angeles County Museum of Art. Hammersley, and fellow painters Lorser Feitelson, Karl Benjamin, and John McLaughlin, were dubbed the "hard-edged painters," whose style consisted of flat, colored geometric shapes that were a sharp contrast to the more popular Abstract Expressionism. The label stuck and in the mid 1970s, Hammersley submitted several works of art for a show called L.A. Hard Edge, a show that featured art from the 1950s and 1970s.

During the late 1970s and 1980s, Hammersley exhibited in several one-man shows, including at L.A. Louver in Venice, California, the Hoshour Gallery in Albuquerque, and the Corcoran in Washington, D.C. In 2000, the Laguna Art Museum presented a traveling exhibition organized by the Museum of Fine Arts in Sante Fe, and the Pomona College Museum of Art organized a retrospective in 2007. His work is in museum collections across the country, including the Los Angeles County Museum of Art (LACMA), the San Francisco Museum of Modern Art, the Santa Barbara Museum of Art, the Albright-Knox Art Gallery in Buffalo, and the Corcoran Gallery of Art. Hammersley died in 2009 at the age of 90. He was survived by his sister, Susie Hammersley Stone.
Related Materials:
The Archives of American Art also holds the Tamara Webster papers relating to Frederick Hammersley.
Provenance:
Frederick Hammersley donated his papers to the Archives of American Art in nine accessions from 1974 to 2008. The Frederick Hammersley Foundation donated additional papers in 2012, 2015, and 2018 via Executive Director Kathleen Shields.
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 Frederick Hammersley papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painters -- New Mexico  Search this
Color in art  Search this
Painters -- California -- Los Angeles  Search this
Art teachers -- California -- Los Angeles  Search this
Painting, Abstract  Search this
Computer Art  Search this
Art -- Study and teaching  Search this
World War, 1939-1945 -- Photographs  Search this
Genre/Form:
Diaries
Drawings
Greeting cards
Scrapbooks
Sketches
Interviews
Photographs
Lectures
Prints
Essays
Sketchbooks
Lecture notes
Sound recordings
Video recordings
Designs
Visitors' books
Awards
Citation:
Frederick Hammersley papers, circa 1860-2009, bulk 1940-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hammfred
See more items in:
Frederick Hammersley papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hammfred
Additional Online Media:

Reconnoitering (Ambrogio Raffele)

Artist:
John Singer Sargent, 12 Jan 1856 - 15 Apr 1925  Search this
Sitter:
Ambrogio Raffele, 1845 - 1928  Search this
Medium:
Oil on canvas
Dimensions:
Estimate: 55.9 x 71.1 cm (22 x 28" )
Type:
Painting
Date:
c. 1911
Topic:
Exterior\Landscape  Search this
Exterior\Sky  Search this
Home Furnishings\Furniture\Seating\Stool  Search this
Nature & Environment\Mountain  Search this
Ambrogio Raffele: Visual Arts\Artist  Search this
Ambrogio Raffele: Male  Search this
Portrait  Search this
Credit Line:
Owner: Modern Gallery, Pitti Palace
Object number:
IT010002
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
EDAN-URL:
edanmdm:npg_IT010002

Grand Central Art Galleries records

Creator:
Grand Central Art Galleries  Search this
Names:
Galerie Jeanne Bucher  Search this
Grand Central Moderns (Gallery)  Search this
Asher, Elise, 1914-  Search this
Barrie, Erwin S., 1886-1983  Search this
Browne, Byron, 1907-1961  Search this
Candell, Victor, 1903-1977  Search this
DeMartini, Joseph, 1896-1984  Search this
Gonzalez, Xavier, 1898-1993  Search this
Kainen, Jacob  Search this
Lam, Jennett, 1911-  Search this
Moy, Seong  Search this
Osver, Arthur, 1912-2006  Search this
Roberts, Colette, 1910-  Search this
Rowan, Herman  Search this
Salemme, Lucia A.  Search this
Watts, Robert M., 1923-1988  Search this
Extent:
1.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1931-1968
bulk circa 1952-circa 1965
Summary:
The records of New York City's Grand Central Art Galleries measure 1.3 linear feet and date from 1931 to 1968, with the bulk of the material from circa 1952 to circa 1965. The majority of the records are related the Grand Central Moderns, the modern art division of Grand Central Art Galleries. The collection includes group exhibition files, artists' files, printed material and photographs.
Scope and Contents:
The records of New York City's Grand Central Art Galleries measure 1.3 linear feet and date from 1931 to 1968, with the bulk of the material from circa 1952 to circa 1965. The majority of the records are related the Grand Central Moderns, the modern art division of Grand Central Art Galleries. The collection includes group exhibition files, artists' files, printed material and photographs.

Group exhibition files consist of catalogs, announcements, clippings, artist biographies, correspondence and photographs. The art exchange exhibition between Grand Central Moderns and Galerie Jeanne Bucher is especially noteworthy.

Artists' files include exhibition catalogs, announcements, resumes, clippings, photographs and limited correspondence. The bulk of the material is on artists who had exhibitions at Grand Central Moderns. Notable artists include Elise Asher, Byron Browne, Victor Candell, Joseph De Martini, Xavier Gonzalez, Jacob Kainen, Jennett Lam, Seong Moy, Arthur Osver, Herman Rowan, Lucia Salemme, and Robert Watts, among others.

Printed material mostly consists of exhibition catalogs and announcements of other galleries. There are a few clippings on Grand Central Art Galleries.

There are a few photographs of artwork.
Arrangement:
The collection is arranged as 4 series.

Series 1: Group Exhibition Files, 1952-1957 (Box 1, OV 3; 0.3 linear feet)

Series 2: Artists' Files, 1940-1968 (Box 1, 0.7 linear feet)

Series 3: Printed Material, 1951-1965 (Boxes 1-2; 0.3 linear feet)

Series 4: Photographs, 1931, circa 1960-circa 1965 (Box 2; 2 folders)
Biographical / Historical:
Grand Central Art Galleries (1923-1994) was a large New York-based art gallery, which also had a modern art division called Grand Central Moderns (1947-circa 1967).

The Grand Central Art Galleries was founded in 1923 and operated as the exhibition space of the Painters and Sculptors Gallery Association in New York City. Grand Central Art Galleries was located at Grand Central Terminal for nearly 30 years before moving on to the Biltmore Hotel at 40 Vanderbilt Avenue, then relocating to 24 West 57th Street. The Galleries regularly exhibited the works of its members and sometimes boasted as many as thirty to forty exhibitions annually.

From its establishment in 1923, Edwin S. Barrie was the director of Grand Central Art Galleries and he founded Grand Central Moderns in 1947, which he also managed until the early 1950s. The gallery moved from one address to another before ultimately relocating to 130 East 56th Street. Colette Roberts was the curator and she took over as director in 1952 until roughly 1965, about two years before Grand Central Moderns closed. Byron Browne, Kenneth Campbell, Lamar Dodd, Xavier Gonzalez, George Morrison and Louise Nevelson were a few of the artists represented by the gallery.

Erwin S. Barrie retired from his position as director of Grand Central Art Galleries in 1975. The gallery closed in 1994.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels NGCAG1-NGCAG2) including 23 yearbooks, 1928-1945, and exhibition catalogs, 1923-1929. The originals were returned to Grand Central Art Galleries after microfilming and are not described in the the container listing of this finding aid.
Provenance:
Grand Central Art Galleries loaned materials for microfilming in 1966. Addition records were donated to the Archives of American Art by Grand Central Art Galleries in 1966 and 1967.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Topic:
Art galleries, Commercial -- New York (State) -- New York  Search this
Art, Modern -- United States  Search this
Genre/Form:
Photographs
Citation:
Grand Central Art Galleries, 1931-1938, bulk circa 1952-circa 1965. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.grancent
See more items in:
Grand Central Art Galleries records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-grancent

Exhibition Openings-Robert Richenburg with Friends and Colleagues

Collection Creator:
Richenburg, Robert  Search this
Container:
Box 5, Folder 25
Type:
Archival materials
Date:
1984-2003
Scope and Contents note:
Bologna/Landi Gallery (1984)

M B Modern Gallery (2001 January 11)

David Findlay Jr. Fine Art (2001 January 12)

McCormick Gallery (2002 May 3)

David Findlay Jr. Fine Art (2003 February 8)
Collection Restrictions:
Use of original material requires an appointment. Use of audiovisual material with no duplicate access copy requires advance notice.
Collection Rights:
The Robert Richenburg papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donors have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Robert Richenburg papers, circa 1910s-2008. Archives of American Art, Smithsonian Institution.
See more items in:
Robert Richenburg papers
Robert Richenburg papers / Series 7: Photographs / Events
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-richrobe-ref386

Charles Sheeler papers

Creator:
Sheeler, Charles, 1883-1965  Search this
Names:
Archives of American Art  Search this
Downtown Gallery (New York, N.Y.)  Search this
Adams, Ansel, 1902-1984  Search this
Arensberg, Louise S. (Louise Stevenson), 1879-1953  Search this
Arensberg, Walter, 1878-1954  Search this
Bacon, Peggy, 1895-1987  Search this
Eidlitz, Dorothy  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Lane, William H.  Search this
Newhall, Beaumont, 1908-1993  Search this
Newhall, Nancy Wynne.  Search this
Rourke, Constance, 1885-1941  Search this
Sheeler, Musya, 1908-1981  Search this
Waters, George  Search this
Weston, Edward, 1886-1958  Search this
Williams, William Carlos, 1883-1963  Search this
Photographer:
Sheeler, Musya  Search this
White, Minor  Search this
Extent:
4.9 Linear feet
Type:
Collection descriptions
Archival materials
Artifacts
Awards
Photographs
Journals (accounts)
Scrapbooks
Writings
Date:
circa 1840s-1966
bulk 1923-1965
Summary:
The papers of painter, photographer, lithographer and industrial designer Charles Sheeler measure 4.9 linear feet and date from circa 1840s to 1966, with the bulk of the material dating from 1923-1965. The collection documents Sheeler's family, personal life and career through financial and medical records, awards, correspondence, writings, an autobiography, journal and notebooks, scrapbooks, exhibition catalogs and announcements, printed materials, photographs, funeral records and artwork by Sheeler and others. The collection is particularly rich in Sheeler's writings, and also includes Sheeler's industrial designs and manufactured artwork. Notable photographs include Sheeler with Edward Weston, Edward Steichen, and John Marin.
Scope and Content Note:
The papers of painter, photographer, lithographer and industrial designer Charles Sheeler measure 4.9 linear feet and date from circa 1840s to 1966, with the bulk of the material dating from 1923-1965. The collection documents Sheeler's family, personal life and career through financial and medical records, awards, correspondence, writings, an autobiography, journal and notebooks, scrapbooks, exhibition catalogs and announcements, printed materials, photographs, funeral records and artwork by Sheeler and others. The collection is particularly rich in Sheeler's writings, and also includes Sheeler's industrial designs and manufactured artwork. There are photographs of Sheeler with Edward Weston, Edward Steichen, and John Marin.

Biographical materials date from 1875, and 1928-1965, and include funeral records, medical records, insurance, tax, and scattered financial records. There is one folder of records relating to artwork and exhibitions, as well as Sheeler's numerous certificates, prizes and awards, and the condolence book used at his funeral.

Correspondence consists of Sheeler's personal and professional correspondence dating from 1937-1966 with friends, artists, dealers, collectors, photographers, and curators. Notable correspondents include Ansel Adams, Walter and Louise Arensberg, William Lane, Beaumont and Nancy Newhall, George Waters, William Carlos Williams, and Edward Weston. The series also includes correspondence with the Archives of American Art, Sheeler's biographer Constance Rourke, and with publishers, editors, children, and the general public. Lastly, there are condolence letters written to Musya Sheeler following Sheeler's death in May 1965.

Writings include Sheeler's journal dating from the 1950s-1963 and two notebooks containing notes, addresses, recipes, etc. Also found are Sheeler's writings on artists, drafts for articles, and a manuscript and notes for an autobiography that Sheeler wrote for Harcourt Brace. The autobiography became the basis for Constance Rourke's biography Charles Sheeler: Artist in the American Tradition published in 1938. The writing series also includes a short story by Musya Sheeler, and an illustrated short story by friend Dorothy Eidlitz.

The scrapbook series contains two oversize scrapbooks dating from 1930s-1960s that include newspaper and magazine clippings about Sheeler and his artwork, exhibition announcements and brochures, a poem, and a thank you letter from Abby Aldrich Rockefeller.

Additional printed materials date from 1923-1966 and document Sheeler's numerous exhibitions, notably his partnership with Edith Halpert and the Downtown Gallery. Found here are clippings, copies of magazines, exhibition announcements and catalogs, museum bulletings, books, and miscellaneous items.

Photographs date from circa 1840s-1963 and include photographs of Sheeler's family, of Sheeler, and of Sheeler with friends and colleagues. There is one daguerreotype, two ambrotypes, and two tintypes of Sheeler's family and of Sheeler as a child. There are copyprints of these originals. Additional photographs are of Sheeler's mother and father (or possibly Sheeler's grandparent), of Sheeler, of Sheeler with his wife Musya, Sheeler with William Lane, Sheeler with Edward Weston, and Sheeler with Edward Steichen and John Marin. The series also includes photographs of Sheeler's collection of Shaker furniture, and photographs of exhibitions.

Artwork by Sheeler dates from circa 1930s-1960s and includes artifacts of manufactured pieces based on his industrial designs. Found are a glass tumbler, salt and pepper shakers, a tea spoon, fabrics designed by Sheeler, and sketches. The series also includes a drawing by Peggy Bacon and a photograph by Minor White.
Arrangement:
The collection is arranged into seven series. Materials are arranged by material type and chronologically or alphabetically thereafter:

Series 1: Biographical Materials, 1875, 1928-1965 (Boxes 1, 5, OV10; 0.6 linear feet)

Series 2: Correspondence, 1937-1966 (Box 1; 0.5 linear feet)

Series 3: Writings, circa 1930s-1965 (Boxes 1-2 ; 0.4 linear feet)

Series 4: Scrapbooks, 1930s-1960s (Boxes 2, 6; 0.4 linear feet)

Series 5: Printed Material, 1923-1966 (Boxes 2-4, 7; 1.5 linear feet)

Series 6: Photographs, circa 1840s-1963 (Box 4, OV11; 0.4 linear feet)

Series 7: Artwork, circa 1930s-1960s (Boxes 4-5, 8-9, OV12-OV14; 1.1 linear feet)
Biographical Note:
Painter, photographer, lithographer and designer, Charles Rettew Sheeler Jr. was born on July 16, 1883 to Mary Cunningham Sheeler and Charles Rettew Sheeler in Philadelphia. He attended the School of Industrial Art in Philadelphia from 1900-1903 and the Pennsylvania Academy of the Fine Arts, where he studied under William Merritt Chase. He found early success as a painter and exhibited at the Macbeth Gallery in 1908.

Around 1910 Sheeler took up photography, and by 1912 financially supported himself photographing buildings for local Philadelphia architects. The following year, Sheeler exhibited six paintings at the 1913 Armory Show in New York. In the mid 1910s, Sheeler began to collect American antiques, and by the 1920s was actively acquiring Shaker crafts and furniture.

In 1916, Sheeler was hired by Marius de Zayas of the Modern Gallery in New York to photograph objects and artwork. From 1917-1924, he worked as the staff photographer for the Modern Gallery and moved to New York in 1918. In 1920, Sheeler was hired as a still photographer for The Arts Magazine.

In 1926, Sheeler was hired by Edward Steichen to work as a fashion and celebrity photographer for Conde Nast Publications. His photographs were regularly featured in Vogue and Vanity Fair, but Sheeler also worked as a still life photographer for numerous advertising agencies. The following year, he was commissioned by the advertising firm N.W. Ayer and Son to photograph Ford Motor Company's new plant at River Rouge.

While working as a photographer, Sheeler continued to paint and used the subjects and composition of his photographs as a basis for his painting. His paintings Skyscrapers, 1922; Upper Deck, 1929; and American Landscape, 1930 are examples of Sheeler's technique of merging photographic imagery with painting and his overall precisionist style.

In 1931, upon the advice and guidance of Edith Halpert of the Downtown Gallery, Sheeler began to paint more often and to photograph less. Halpert became Sheeler's primarily dealer, and from 1931-1966 regularly exhibited his paintings and drawings. With Halpert's support, Sheeler produced Classic Landscape, 1931; American Interior, 1934; Silo, 1938; Amoskeag Canal, 1948; and Convolutions, 1952. In addition to Sheeler's partnership with Halpert, his work was exhibited by other galleries and museums throughout the United States and abroad.

In 1939, Sheeler married his second wife, Musya Metas Sokolova (1908-1981) and, in 1942, the couple moved to Irvington-on-Hudson, New York. Sheeler continued to paint and photograph until he suffered a debilitating stroke in 1959. After 1959, Sheeler remained active exhibiting his artwork until his death on May 7, 1965 in Dobbs Ferry, New York.
Related Material:
The Archives of American Art holds several collections that are related to Charles Sheeler.

There are two oral history interviews with Sheeler conducted by Mary Bartlett Cowdrey in December 1958, and by Martin Friedman in June 1959. The Archives also has the records of the Macbeth Gallery, which include a substantial amount of correspondence with Sheeler from 1907-1921, and the Downtown Gallery records, which also include correspondence with Sheeler, photographs of Sheeler and his artwork, exhibition publications, clippings, press releases, and audio visual materials dating from 1904-1972.

Also found in the the Archives is a loan of Charles Sheeler letters filmed on reel NY/59-5 containing letters written by Sheeler to his psychologist and art collector, Dr. Helen Boigon, art student George Craven, and friend William Carlos Williams, all dating from 1939-1958. There is a collection of six letters of Sheeler letters addressed to Doris Royce, possibly an art critic, dating from 1949-1957. Miscellaneous manuscript collections include one letter written by Sheeler to E.P. Richardson in 1958, and another letter written to Frank Crowninshield in September, 1939.
Separated Material:
Portions of Sheeler's papers that were originally loaned for microfilming were not included in the later gifts and are available only on microfilm reel NSH-1. A watercolor study microfilmed on reel 1811 was later transferred to the Smithsonian American Art Museum. These materials are not described in the container list of this finding aid.
Provenance:
Charles Sheeler's wife Musya initially loaned the papers to the Archives of American Art for microfilming in 1958, 1965, and 1966. In June, 1966, she donated most of the earlier loaned materials. In 1964, Sheeler's friend Howard Lipman donated three photographs of Sheeler with Edward Steichen and John Marin. The third accrual was transferred to the Archives by the Smithsonian American Art Museum and National Portrait Gallery Library in June 1979.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Charles Sheeler 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 copyright laws.
Topic:
Works of art  Search this
Painters -- New York (State) -- New York  Search this
Lithographers -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Industrial designers -- New York (State) -- New York  Search this
Genre/Form:
Artifacts
Awards
Photographs
Journals (accounts)
Scrapbooks
Writings
Citation:
Charles Sheeler papers, circa 1840s-1966, bulk 1923-1965. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sheechar
See more items in:
Charles Sheeler papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sheechar
Additional Online Media:

Interview with Jeanne Patterson Miles

Creator:
Miles, Jeanne Patterson, 1908-1999  Search this
Roberts, Colette Jacqueline, 1910-1971  Search this
Type:
Sound Recording
Date:
1968
Record number:
(DSI-AAA)10874
See more items in:
Colette Roberts papers and interviews with artists, 1918-1971
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_10874

Interview with Mike Nevelson

Creator:
Nevelson, Mike, 1922-  Search this
Roberts, Colette Jacqueline, 1910-1971  Search this
Type:
Sound Recording
Date:
1967
Record number:
(DSI-AAA)10876
See more items in:
Colette Roberts papers and interviews with artists, 1918-1971
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_10876

Interview with Colette Roberts

Creator:
Roberts, Colette Jacqueline, 1910-1971  Search this
Gray, Eden, 1903-1999  Search this
Subject:
Roberts, Colette Jacqueline  Search this
Grand Central Moderns (Gallery)  Search this
Type:
Sound Recording
Date:
circa 1959
Record number:
(DSI-AAA)11737
See more items in:
Colette Roberts papers and interviews with artists, 1918-1971
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_11737

Louise Nevelson exhibition installation at Grand Central Moderns

Creator:
Bolotowsky, Ilya, 1907-1981  Search this
Subject:
Nevelson, Louise  Search this
Grand Central Moderns (Gallery)  Search this
Type:
Motion Picture Film
Place:
New York, N.Y.
Date:
1958
Topic:
Exhibitions  Search this
Installations (Art)  Search this
Record number:
(DSI-AAA)20653
See more items in:
Miscellaneous sound, film, and video recordings collection
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_20653

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