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Colette Roberts Papers and Interviews with Artists

Creator:
Roberts, Colette, 1910-  Search this
Names:
British Broadcasting Corporation  Search this
Grand Central Moderns (Gallery)  Search this
Le Point Cardinal (Gallery)  Search this
New York University -- Faculty  Search this
Bauermeister, Mary, 1934-  Search this
Bearden, Romare, 1911-1988  Search this
Chryssa, 1933-  Search this
Dehner, Dorothy, 1901-1994  Search this
Duchamp, Marcel, 1887-1968  Search this
Ferren, John, 1905-1970  Search this
Gottlieb, Adolph, 1903-1974  Search this
Johnson, Ray, 1927-  Search this
Karp, Ivan C., 1926-2012  Search this
Le Prat, Thérèse  Search this
Lindner, Richard, 1901-  Search this
Marisol, 1930-  Search this
Moy, Seong  Search this
Nevelson, Louise, 1899-1988  Search this
O'Doherty, Brian  Search this
Ray, Man, 1890-1976  Search this
Reinhardt, Ad, 1913-1967 -- Photographs  Search this
Schwabacher, Ethel, 1903-1984  Search this
Sterne, Hedda, 1910-  Search this
Vieira da Silva, Maria Helena, 1908-1992  Search this
Extent:
10.2 Linear feet
Type:
Collection descriptions
Archival materials
Transcripts
Reviews (documents)
Interviews
Articles
Notes
Manuscripts
Photographs
Sound recordings
Date:
1918-1971
Summary:
The papers of New York City and Paris art historian, educator, and gallerist Colette Roberts measure 10.2 linear feet and date from 1918 to 1971. Papers include correspondence, writings, teaching records, project proposals, gallery records from Grand Central Moderns Gallery, clippings, Roberts' printed articles, press releases, exhibition catalogs, posters, photographs, and a few works of art on paper. Also found are 124 interviews with contemporary artists conducted by Roberts.
Scope and Content Note:
The papers of New York City and Paris art historian, educator, and gallerist Colette Roberts measure 10.2 linear feet and date from 1918 to 1971. Papers include correspondence, writings, teaching records, project proposals, gallery records from Grand Central Moderns Gallery, clippings, Roberts' printed articles, press releases, exhibition catalogs, posters, photographs, and a few works of art on paper. Also found are 124 interviews with contemporary artists conducted by Roberts.

Significant correspondents include Sam Adler, Erwin Barrie, Hubert Damisch, George Deem, Mesdames de Harting and de Tinan, Lamar Dodd, Hélène Drude (Le Point Cardinal gallery), Arne Ekstrom, Albert M. Fine (Fluxus artist), Iqbal Geoffrey, R.G. Gilllet, Adolph Gottlieb, Cleve Gray, Leon Hartl, Jennett Lam, Alberto Cifolelli Lamb, Mike Nevelson, Norman Norotzky, Jacqueline Pavlowsky, Abe Rattner, Ad Reinhardt, H. Sandberg, Philippe Stern, Russell Twiggs, and Zuka.

Writings by Roberts include manuscripts and articles about artists, writings about her own art, personal writings, working notes from interviews and classes, reviews, and translations between English and French.

Among the personal records are Robert's files relating to teaching, charitable activities, and exhibitions. Also found are gallery records from Grand Central Moderns Gallery, including artist résumés, a card file of artworks with provenance information, exhibition catalogs and announcements, membership records, posters, publicity, and sales records.

Printed materials in the collection include clippings, Roberts' printed articles, press releases, and other exhibition catalogs and announcements. Photographs are of Roberts, artists, including Ad Reinhardt, classes, art spaces, and works of art. A small number of artworks on paper are also found, including Fluxus art stamps and a printed picture of Ray Johnson stamped "DOUGHNUT FESTIVAL."

Documentation of interviews with artists conducted by Roberts includes a card index file, a few transcripts, and the original sound recordings. Most of the recordings are interviews with artists that Roberts created during a class she taught at New York University between 1957 and 1971 called "Meet the Artist," including Mary Bauermeister, Romare Bearden, Dorothy Dehner, John Ferren, Ray Johnson, Ivan Karp, Thérèse Le Prat, Richard Lindner, Marisol, Seong Moy, Brian O'Doherty, Man Ray, Ethel Schwabacher, Hedda Sterne, Marie Helena Vieira da Silva, and many others. In preparation for magazine articles, Roberts conducted more extensive interviews with Chryssa, Marcel Duchamp, Adolph Gottlieb, and Louise Nevelson. A few of the recordings of Marcel Duchamp were not created by Roberts. In all, over 100 artists are represented in Roberts' interviews. Other recordings found include lectures and interviews conducted by people other than Roberts.
Arrangement:
The collection is arranged as 8 series:

Series 1: Correspondence, 1918-1971 (Box 1, 0.5 linear feet)

Series 2: Notes and Writings, 1936-1970 (Box 1, 0.3 linear feet)

Series 3: Personal Records, 1944-1971 (Box 1-2, 11; 0.7 linear feet)

Series 4: Grand Central Moderns Gallery Records, 1952-1970 (Box 2-3, 11; 0.7 linear feet)

Series 5: Printed Material, 1938-1971 (Box 3-5, 11-12; 2.0 linear feet)

Series 6: Photographs, 1930-1971 (Box 5; 0.2 linear feet)

Series 7: Artwork, 1940-1969 (Box 5; 4 folders)

Series 8: Interviews with Artists, 1959-1971 (Box 5-10; 5.5 lienar feet)
Biographical Note:
Colette Roberts was a French artist, curator, gallery director, and scholar who emigrated to the United States in 1939, settling in New York City and remaining there until her death in 1971.

Roberts was born in Paris, France in 1910. She studied art with Roger Bissière at the Académie Ranson and with Henry Focillon at the Ecole du Louvre, and she later attended the Institut d'Art et Archeologie at the Sorbonne. Roberts came to the United States in 1939, settling in New York City, and became an American citizen three years later. In her early years in the United States, Roberts lectured and wrote on art and literature, and was active in various war-relief organizations, raising money and organizing benefits for organizations such as the American Red Cross and UNICEF. She was the gallery director for the National Association of Women Artists' Argent Galleries from 1947 to 1949, secretary to the curator of Far Eastern Art at New York's Metropolitan Museum from 1950 to 1951, and art editor for "France Amérique," the French-language newspaper in New York, beginning in 1953.

Roberts became gallery director of the Grand Central Moderns Gallery (New York, NY) in 1952 and remained in that position until 1968, when the gallery closed. The gallery was opened in 1946 by Erwin S. Barrie of the Grand Central Galleries for the promotion of living American artists. Among the artists represented there were Jennett Lam and Seong Moy. During this period she was also an instructor at New York University and Queens College, teaching art history and contemporary art. In 1957, she began a course at New York University called "Meet the Artist," for which she took her classes to the studios of working artists to see and discuss their work. In the early 1960s, she began to tape record her interviews of artists for this course, a practice which continued until her death in 1971. In 1968, Roberts worked briefly as Gallery Director for the A.M. Sachs Gallery (New York, NY), and as an oral history interviewer for the Archives of American Art.

Roberts wrote extensively on contempoary art, including articles and monographs on Mark Tobey (1960, Grove Press), Louise Nevelson (1964, The Pocket Museum), and Marcel Duchamp. She was a regular contributor to Aujourd'hui and Art and Architecture magazines.
Related Material:
Additional papers and recordings of Colette Roberts are held by Syracuse University Library Special Collections Research Center.
Separated Material:
A copy of a 1967 oral history with Adolf Gottlieb conducted by Dorothy Seckler for the Archives of American Art oral history program, which was found in Roberts' papers, has been returned to the Archives' oral history collection.
Provenance:
The sound recordings and transcripts of interviews with artists, were donated by Colette Roberts in 1970. The remaining papers were donated by her son, Richard B. Roberts, in 1973.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Colette Roberts papers and interviews with artists are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art galleries, Commercial -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Art -- Study and teaching  Search this
Sculpture, Modern -- 20th century -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Fluxus (Group of artists)  Search this
Art historians -- New York (State) -- New York  Search this
Artists -- New York (State) -- New York -- Interviews  Search this
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Genre/Form:
Transcripts
Reviews (documents)
Interviews
Articles
Notes
Manuscripts
Photographs
Sound recordings
Citation:
Colette Roberts papers and interviews with artists, circa 1930-1971. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.robecoli
See more items in:
Colette Roberts Papers and Interviews with Artists
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-robecoli
Additional Online Media:

Oral history interview with Hedda Sterne, 1981 December 17

Interviewee:
Sterne, Hedda, 1910-2011  Search this
Interviewer:
Tuchman, Phyllis  Search this
Subject:
Newman, Barnett  Search this
Avery, Milton  Search this
Still, Clyfford E.  Search this
Rothko, Mark  Search this
Guggenheim, Peggy  Search this
Greenberg, Clement  Search this
Reinhardt, Ad  Search this
Mark Rothko and His Times Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Abstract expressionism  Search this
Women painters  Search this
Painters  Search this
Record number:
(DSI-AAA_CollID)13262
(DSI-AAA_SIRISBib)215648
AAA_collcode_sterne81
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_215648
Additional Online Media:

Hedda Sterne papers, 1939-1977

Creator:
Sterne, Hedda, 1910-2011  Search this
Subject:
Mathieu, Georges  Search this
Steinberg, Saul  Search this
Saint-Exupéry, Antoine de  Search this
Werth, Léon  Search this
Type:
Photographs
Drawings
Interviews
Sketchbooks
Transcripts
Topic:
Women painters  Search this
Painters  Search this
Painting, Modern  Search this
Record number:
(DSI-AAA_CollID)9478
(DSI-AAA_SIRISBib)211676
AAA_collcode_sterhedd
Theme:
Sketches & Sketchbooks
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211676
Additional Online Media:

Saul Steinberg to Hedda Sterne

Creator:
Steinberg, Saul, 1914-1999  Search this
Sterne, Hedda, 1910-2011  Search this
Type:
Correspondence
Date:
1944 January 23
Record number:
(DSI-AAA)13711
See more items in:
Hedda Sterne papers, 1939-1977
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_13711
Additional Online Media:

Georges Mathieu letter to Hedda Sterne

Creator:
Mathieu, Georges, 1921-  Search this
Sterne, Hedda, 1910-2011  Search this
Type:
Correspondence
Date:
1961
Topic:
Love letters  Search this
Record number:
(DSI-AAA)19076
See more items in:
Hedda Sterne papers, 1939-1977
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_19076
Additional Online Media:

Interview with Hedda Sterne conducted by Claire Nivola

Creator:
Sterne, Hedda, 1910-2011  Search this
Nivola, Claire  Search this
Type:
Sound Recording
Date:
2005 May 31 through 2005 September 26
Topic:
Women painters  Search this
Record number:
(DSI-AAA)19115
See more items in:
Hedda Sterne interview, 2005
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_19115

Antoine de Saint-Exupéry to Hedda Sterne

Creator:
Saint-Exupéry, Antoine de, 1900-1944  Search this
Sterne, Hedda, 1910-2011  Search this
Type:
Correspondence
Date:
ca. 1943
Record number:
(DSI-AAA)3386
See more items in:
Hedda Sterne papers, 1939-1977
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_3386

Antoine de Saint-Exupéry letter to Hedda Sterne

Creator:
Saint-Exupéry, Antoine de, 1900-1944  Search this
Sterne, Hedda, 1910-2011  Search this
Type:
Correspondence
Date:
ca. 1943
Record number:
(DSI-AAA)6645
See more items in:
Hedda Sterne papers, 1939-1977
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_6645

Interview with Hedda Sterne

Creator:
Sterne, Hedda, 1910-2011  Search this
Roberts, Colette Jacqueline, 1910-1971  Search this
Type:
Sound Recording
Date:
1967
Record number:
(DSI-AAA)10839
See more items in:
Colette Roberts papers and interviews with artists, 1918-1971
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_10839

Interview with Hedda Sterne

Creator:
Sterne, Hedda, 1910-2011  Search this
Roberts, Colette Jacqueline, 1910-1971  Search this
Type:
Sound Recording
Date:
1971
Record number:
(DSI-AAA)10841
See more items in:
Colette Roberts papers and interviews with artists, 1918-1971
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_10841

Dore Ashton papers

Creator:
Ashton, Dore  Search this
Names:
Cooper Union for the Advancement of Science and Art -- Faculty  Search this
New School for Social Research (New York, N.Y.) -- Faculty  Search this
Yale University -- Faculty  Search this
Adams, Pat, 1928-  Search this
Adley, James, 1931-  Search this
Albee, Edward, 1928-  Search this
Albers, Josef  Search this
Arnheim, Rudolf  Search this
Avedon, Richard  Search this
Berthot, Jake, 1939-  Search this
Borges, Jacopo Luis  Search this
Congdon, Dennis  Search this
Cornell, Joseph  Search this
Diebenkorn, Richard, 1922-1993  Search this
Driskell, David C.  Search this
Giacometti, Alberto, 1901-1966  Search this
Guidieri, Remo  Search this
Guston, Philip, 1913-1980  Search this
Hellman, Lillian, 1905-1984  Search this
Herbert, George  Search this
Hiss, Alger  Search this
Howes, Barbara  Search this
Kaprow, Allan  Search this
Licht, Fred, 1928-  Search this
Lindner, Richard, 1901-  Search this
Malamud, Bernard  Search this
Miró, Joan, 1893-  Search this
Motherwell, Robert  Search this
Moy, Seong  Search this
Mumford, Lewis, 1895-1990  Search this
Oldenburg, Claes, 1929-  Search this
Reuterswärd, Carl Fredrik, 1934-  Search this
Sterne, Hedda, 1910-  Search this
Tinguely, Jean, 1925-  Search this
Tobey, Mark  Search this
Tworkov, Jack  Search this
Vasilikos, Vasilēs, 1934-  Search this
Yunkers, Adja, 1900-1983  Search this
Extent:
35.6 Linear feet
Type:
Archival materials
Collection descriptions
Sketchbooks
Diaries
Transcripts
Date:
circa 1928-2014
1849
1931 - 1983
bulk 1952-2014
Summary:
The papers of Dore Ashton measure 35.6 linear feet and date from circa 1928-2014, with one letter in the Joseph Cornell subject file dating from 1849. The records document Dore Ashton's career as an art critic, historian and educator, with particular depth for the period of 1952 through 1990. The collection contains a small amount of biographical material, as well as correspondence, writings, subject files, printed materials, artwork, and reference photographs of artworks. An addition to the Dore Ashton papers includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material.
Scope and Contents:
The papers of Dore Ashton measure 35.6 linear feet and date from circa 1928-2014, with one letter in the Joseph Cornell subject file dating from 1849. The records document Dore Ashton's career as an art critic, historian and educator, with particular depth for the period of 1952 through 1990. The collection contains a small amount of biographical material, as well as correspondence, writings, subject files, printed materials, artwork, and reference photographs of artworks. An addition to the Dore Ashton papers includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material.

The bulk of the collection consists of correspondence with many artists, writers and others, including Pat Adams, James Adley, Rudolf Arnheim, Jake Berthot, Dennis Congdon, George Herbert, Remo Guidieri, Barbara Howes, Fred Licht, Joan Punyet Miro, Carl Fredrik Reuterswärd, and Hedda Sterne, among others. Smaller amounts of letters are from Joseph Albers, Edward Albee, Richard Avedon, Richard Diebenkorn, David Driskell, Alberto Giacometti, Philip Guston, Lillian Hellman, Alger Hiss, Bernard Malamud, Joan Miro, Robert Motherwell, Lewis Mumford, Claes Oldenburg, and Vassilis Vassilikos.

Writings consist of transcripts of miscellaneous articles or those written for various publications. Research files include reference or research materials for books, exhibitions, individuals and various topics. Individuals and topics include Jacopo Luis Borges, Allan Kaprow, Richard Lindner, Seong Moy, Jean Tinguely, Mark Tobey, Jack Tworkov, Adja Yunkers; and Dadaism, poetry and symbolism.

The addition to the Dore Ashton papers (Series 8) includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material. Writings make up a significant part of the addition and contain hundreds of manuscripts, as well as lectures, notes, sixty notebooks, ten diaries, and writings by others. Writing project and subject files comprise over half of the addition and encompass a large collection of alphabetical files pertaining to artists, actors, writers, thinkers, and collaborators; work projects including writings, exhibitions, panels, symposia, and lecture series; as well as various other subjects and topics. The addition also contains teaching files related to Ashton's positions at the Cooper Union, the New School for Social Research, and Yale University. The photographic material in this series is also abundant and contains hundreds of original photographs of Ashton throughout all stages of her life, many with friends and family.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Materials, 1962-1978

Series 2: Correspondence, 1945-2010, undated

Series 3: Writings, 1952-1976, undated

Series 4: Research files, 1849, 1950-1984, 2009, undated

Series 5: Printed Materials, 1931-1981, undated

Series 6: Artwork, 1949, 1952, 1983, undated

Series 7: Photographs of Artwork, circa 1950-2010

Series 8: Addition to the Dore Ashton Papers, circa 1928-2013
Biographical / Historical:
Dore Ashton (1928-) is an art critic, author, and educator living in New York City. She wrote, contributed , and edited more than 30 books. Ashton was born in Newark New Jersey in 1928 and received an MA from Harvard University in 1950. Her many books and articles focus on late 19th and 20th century art and artists. Ashton was associate editor at Art Digest from 1952-1954, and critic for Arts and Architecture at the New York Times, 1955-1960. Starting in 1962 she held several lecturing posts at various institutions including the School of Visual Arts, Cooper Union, and the New School for Social Research. She was awarded a Guggenheim fellowship in 1964 and a National Endowment for the Humanities grant in 1980. Among Ashton's books are Abstract Art Before Columbus, 1956; Poets and the Past, 1959; A Joseph Cornell Album, 1974; Yes, But…A Critical Study of Philip Guston, 1976, About Rothko, 1983; The New York School: a Cultural Reckoning, 1973; Noguchi East and West, 1992; and David Rankin: The New York Years, 2013. Dore Ashton was the first critic to develop a comprehensive and eye-witness account of the history of the Abstract Expressions.

Ashton married artist Adja Yunkers (1900-1983) in 1953, and they had two daughters Alexandra (known as Sasha) and Marina. In 1985 she married writer Matti Megged (1923-2003).
Related Materials:
Among the holdings of the Archives is an oral history interview with Dore Ashton conducted November 21, 2010 by George W. Sampson, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts Project.

Dore Ashton papers are also located at Emory University Manuscript, Archives, and Rare Book Library.
Provenance:
The Dore Ashton papers were donated to the Archives of American Art by Dore Ashton May 27, 1982, May 8, 1997, June 2, 2011, and March, 25, 2016.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Dore Ashton papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Women art critics  Search this
Historians  Search this
Educators  Search this
Topic:
Photographs  Search this
Dadaism  Search this
Art critics  Search this
Art criticism  Search this
Art, Modern -- 20th century  Search this
Artists -- United States  Search this
Art -- Study and teaching  Search this
Poetry  Search this
Genre/Form:
Sketchbooks
Diaries
Transcripts
Citation:
Dore Ashton papers, 1849, circa 1928-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ashtdore
See more items in:
Dore Ashton papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ashtdore
Additional Online Media:

Dorothy C. Miller papers

Creator:
Miller, Dorothy Canning, 1904-2003  Search this
Names:
Betty Parsons Gallery  Search this
Chase Manhattan Bank -- Art collections  Search this
Federal Art Project  Search this
Hirshhorn Museum and Sculpture Garden  Search this
Mark Rothko Foundation  Search this
Municipal Art Exhibition (1st : 1934 : New York, N.Y.)  Search this
PepsiCo, inc  Search this
Port Authority of New York and New Jersey -- Art collections  Search this
Rockefeller University  Search this
Smith College -- Students  Search this
Smith College. Museum of Art  Search this
World Trade Center (New York, N.Y.) -- Art collections  Search this
Asher, Elise, 1914-  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Bontecou, Lee, 1931-  Search this
Byars, James Lee  Search this
Cahill, Holger, 1887-1960  Search this
Calder, Alexander, 1898-1976  Search this
Canady, John  Search this
Charlton, Maryette  Search this
Christo, 1935-  Search this
Chryssa, 1933-  Search this
Coggeshall, Calvert, 1907-1990  Search this
Copley, Alfred L.  Search this
Davis, Stuart, 1892-1964  Search this
DeFeo, Jay, 1929-1989  Search this
Feininger, Lyonel, 1871-1956  Search this
Feitelson, Lorser, 1898-1978  Search this
Gorky, Arshile, 1904-1948  Search this
Guggenheim, Peggy, 1898-  Search this
Hartigan, Grace  Search this
Hicks, Edward, 1780-1849  Search this
Horwitt, Will  Search this
Johns, Jasper, 1930-  Search this
Karpel, Bernard, 1911-1986  Search this
Levy, Julien  Search this
Mather, Eleanore Price, 1910-  Search this
Matisse, Pierre, 1900-1989  Search this
Nevelson, Louise, 1899-1988  Search this
Newman, Barnett, 1905-1970  Search this
Noguchi, Isamu, 1904-1988  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Pereira, I. Rice (Irene Rice), 1902-1971  Search this
Picasso, Pablo, 1881-1973  Search this
Rauschenberg, Robert, 1925-2008  Search this
Reinhardt, Ad, 1913-1967  Search this
Rockefeller, Nelson A. (Nelson Aldrich), 1908-1979 -- Art collections  Search this
Rothko, Mark, 1903-1970  Search this
Sage, Kay  Search this
Scharf, William, 1927-  Search this
Sheeler, Charles, 1883-1965  Search this
Sterne, Hedda, 1910-2011  Search this
Still, Clyfford, 1904-1980  Search this
Extent:
34.6 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Sketches
Christmas cards
Drawings
Date:
1853-2013
bulk 1920-1996
Summary:
The papers of contemporary and folk art curator, historian, and consultant Dorothy C. Miller measure 34.6 linear feet and date from 1853-2013, with the bulk of the material dating from 1920 to 1996. The papers primarily concern Miller's private art consulting work outside of her curatorial work at the Museum of Modern Art in New York City. Found are scattered biographical materials, extensive correspondence and subject files, and project files for her art consulting work for the Rockefeller family, Rockefeller University, Chase Manhattan Bank, the Port Authority of New York and New Jersey, the World Trade Center, and other miscellaneous corporate and private clients. Miller's work as a trustee and committee member of various public and private boards and commissions is also represented here. Additionally, the papers contain Miller's research files on Edward Hicks and folk art, and a small number of files of her husband Holger Cahill about his work as Director of the Federal Art Project. There is a scattered documentation of Miller's early curatorial work with Holger Cahill on the First Municipal Art Exhibition (1934) held at the RCA Building in Rockefeller Center. Also found is Dorothy Miller's collection of artists' Christmas cards and photographs of Miller and others. An addition to the papers includes biographical material; family papers; correspondence; professional files; art collection and client files; printed material; and photographic material. While a small number professional files are included, the majority of the addition relates to her personal life, including correspondence with her husband Holger Cahill, and files pertaining to her personal art collection.
Scope and Content Note:
The papers of contemporary and folk art curator, historian, and consultant Dorothy C. Miller measure 34.6 linear feet and date from 1853-2013, with the bulk of the material dating from 1920 to 1996. The papers primarily concern Miller's art consulting work outside of her curatorial work at the Museum of Modern Art in New York city. Found are scattered biographical materials, extensive correspondence and subject files, and project files for her art consulting work for the Rockefeller family, Rockefeller University, Chase Manhattan Bank, the Port Authority of New York and New Jersey, and other miscellaneous corporate and private clients. Her work as a trustee and committee member of various public and private boards and commissions is also represented here. Additionally, the papers contain Miller's research files on Edward Hicks and folk art, and a small number of files related to Miller's husband Holger Cahill and his work as Director of the Federal Art Project. There is important documentation of Miller's early curatorial work with Holger Cahill on the First Municipal Art Exhibition (1934) held at the RCA Building in Rockefeller Center. Artwork includes scattered sketches and drawings enclosed with correspondence and original Christmas cards sent to Miller by various artists. Photographs of Miller date from 1926 - circa 1950.

Scattered biographical material mostly concerns Miller's education at Smith College and awards and honorary degrees that she received. Extensive correspondence and subject files document her professional and personal relationships with family, friends, colleagues, museums, art dealers and artists, as well as her research interests. Individual files may contain a mix of correspondence with, as well as about, the person or subject, compiled research documents, printed materials, and scattered photographs. Files are found for Lewin Alcopley, Alfred Barr, Betty Parsons Gallery, Cahill family members, Lee Bontecou, James Byars, Holger Cahill, Alexander Calder, Christo, Chryssa, Calvert Coggeshall, John Canaday, Maryette Charlton, Stuart Davis, Jay DeFeo, Lorser Feitelson, Arshile Gorky, Peggy Guggenheim, Grace Hartigan, Will Horwitt, Jasper Johns, Julien Levy, Pierre Matisse, Louise Nevelson, Barnett Newman, Isamu Nauchi, Georgia O'Keeffe, Pablo Picasso, Robert Rauschenberg, Ad Reinhardt, Kay Sage, Charles Sheeler, Hedda Sterne, travel, Clyfford Still, William Scharf, among many others.

Detailed records of Miller's art consulting and advisory work for the Rockefeller family include correspondence with Nelson A. Rockefeller and David Rockefeller about building their personal collections of contemporary and folk art, meeting notes and minutes, research notes and writings, and printed materials. The largest group of records concerns the writing and publication of The Nelson A. Rockefeller Collection: Masterpieces of Modern Art. Miller's curatorial work for David Rockefeller and the Rockefeller University's Abby Aldrich Rockefeller Hall art collection is documented in Series 4 through curatorial files, correspondence, printed materials, photographs and slides, artists files, and design records.

Series 5 contains files relating to Miller's work as the first art consutant to the Chase Manhattan Bank and the building of the corporation's extensive collection of contemporary art. There is a draft of Miller's text for the bank's published catalog, Art At Work: Chase Manhattan Bank Collection. A smaller set of records is found in Series 6 documenting Miller's work on the Art Committee of the Port Authority of New York and New Jersey, including files about selecting artwork for the World Trade Center during the early 1970s. Files concerning Miller's advisory work with additional public and private clients, boards, and commissions are arranged in Series 7 and 8 and concern the Amstar Corporation, Fidelity International Bank, First National Bank of Tampa, First National City Bank, Inmont Corporation, Pepsico, United Mutual Savings Bank, the Empire State Plaza Art Commission, the Hancock Shaker Village, the Hirshhorn Museum and Sculpture Garden, the Mark Rothko Foundation, the Museum of American Folk Art, and the Smith College Museum of Art.

Miller's papers include a small group of files relating to the WPA Federal Art Project (FAP)created by her husband Holger Cahill when he was director of the FAP, Holger Cahill. A small series is devoted to Miller's work with Eleanore Price Mather researching and writing Edward Hicks: His Peaceable Kingdom and Other Paintings. A series of general research files contain miscellaneous research notes and photographs related to Miller's interests in early American art and folk art. Series 12 contains important documentation of Miller's early curatorial work with Holger Cahill on the First Municipal Art Exhibition (1934) held at the RCA Building in Rockefeller Center.

Works of art are primarily in the form of Christmas cards sent to Miller by various artists including Elise Asher, Lyonel Feininger, Bernard Karpel, and Irene Rice Pereira. A small group of photographs includes photographs of Miller from 1926-circa 1950 and a few photographs of others.

The addition includes biographical material; family papers; correspondence; professional files; art collection and client files; printed material; and photographic material. While a small number of professional files are found here, the majority of material relates to Miller's personal life, including correspondence with her husband Holger Cahill, and files pertaining to her personal art collection. Scattered correspondence, inventories, research, and notes created by curator and donor of the papers, Wendy Jeffers, are found throughout the collection. These materials date from the 1980s-2000s.
Arrangement:
The collection is arranged as 15 series:

Series 1: Biographical Material, 1917-1986 (Box 1; 0.3 linear ft.)

Series 2: Correspondence and Subject Files, circa 1912-1992 (Boxes 1-8, OV 27; 7.2 linear ft.)

Series 3: Rockefeller Family Art Collections, circa 1949-1985 (Boxes 8-12, 25; 3.9 linear ft.)

Series 4: Rockefeller University Collection, 1923-1984 (Boxes 12-13, OV 27; 1.0 linear ft.)

Series 5: Chase Manhattan Bank Collection, 1959-circa 1985 (Boxes 13-14, 26; 1.4 linear ft.)

Series 6: Port Authority of New York and New Jersey Art Committee, circa 1965-1987 (Boxes 14-15, OV 27; 0.8 linear ft.)

Series 7: Other Corporate and Private Clients, 1968-1984 (Boxes 15-16; 1.3 linear ft.)

Series 8: Other Boards, Committees and Commissions, 1925, 1949-1985 (Boxes 16-20; 3.6 linear ft.)

Series 9: Works Project Administration Federal Art Project Files, 1935-1979 (Box 20, OV 27; 0.5 linear ft.)

Series 10: Edward Hicks Catalog, 1934-1984 (Boxes 20-22; 1.5 linear ft.)

Series 11: Research Files, 1930s-1980 (Boxes 22-23; 0.8 linear ft.)

Series 12: Exhibition Files, 1932-1986 (Box 23; 0.6 linear ft.)

Series 13: Works of Art, circa 1924-circa 1982 (Boxes 23-25; 1.5 linear ft.)

Series 14: Photographs, 1926-circa 1970s (Boxes 24-25; 0.3 linear ft.)

Series 15: Addition to the Dorothy C. Miller Papers, 1853-2003, bulk 1920-1996 (Boxes 28-38, OVs 39-41; 9.9 linear ft.)
Biographical Note:
Dorothy Canning Miller (1904-2003) worked in New York City as a highly influential curator of contemporary and folk art at the Museum of Modern Art and as the first curator of the museum. Later, she was the primary art consultant for Nelson A. Rockefeller, the Rockefeller family, Rockefeller University, Chase Manhattan Bank, and the Port Authority of and New Jersey. Dorothy Miller was also married to Holger Cahill, director of the WPA Federal Art Project.

Dorothy C. Miller was born in Hopedale, Massachusetts in 1904 and received her Bachelor of Arts from Smith College in 1925. She was first introduced to modern art through classes at the Newark Museum taught by John Cotton Dana and Holger Cahill. Miller joined the curatorial staff of the Newark Museum in 1926. The museum was one of the first to organize exhibitions of American folk art, American Primitives (1930-1931) and American Folk Sculpture (1931-1932). Miller worked with Cahill and others on the exhibition and developed a life-long interest in folk art.

After four years at the Newark Museum, Miller moved to New York city, hoping to get involved with the newly opened Museum of Modern Art (MoMA), and, likely, to be with Holger Cahill, with whom she lived with on 8th Street prior to their marriage in 1938. Between 1930 and 1932 she took odd jobs and worked with Mrs. Henry Lang cataloging, researching and installing Lang's collection of Native American art Lang donated to the Montclair Art Museum. At the same time, Holger Cahill was serving as Acting Director of the Museum of Modern Art during an absence of Director Alfred H. Barr. In 1932, Cahill asked Miller to assist him with curating the American Painting and Sculpture, 1862-1932 exhibition at MoMA, and together they also curated the First Municipal Art Exhibition, 1934 at the Rockefeller Center.

In 1934, Barr hired Miller as his assistant and one year later appointed her as MoMA's first curator. Miller spent the next 35 years organizing many of this country's most important exhibitions of contemporary art and building personal relationships with new artists and photographers, as well as the collections of MoMA. Miller retired from MOMA in 1969 and focused more on her art consulting work begun in the late 1950s.

Dorothy Miller's most notable client was Nelson A. Rockefeller. She assisted and advised Rockefeller as he acquired a vast personal collection of modern art - some of which was later donated to MoMA. Just prior to her retirement, Miller organized a large exhibition of Rockefeller's collection. The exhibition catalog written by Miller was the basis for the book she worked on with Rockefeller up until and following his death in 1979, ultimately published as The Nelson A. Rockefeller Collection: Masterpieces of Modern Art. In the preface, Rockefeller credited Miller with being one of the four people to whom he was indebted "for the understanding and endless joy I have found in the collecting of modern art in all forms."

Miller also served as the primary art consultant for projects to furnish federal spaces, including Henry Kissinger's State Department office suite, and the official Vice-Presidential residence at the Admiral's House in Washington D.C.

In 1959 Miller was invited to join the art collection committee of the Chase Manhattan Bank and served on the committee until the mid-1980s, contributing her expertise to the development of one of this country's oldest and largest corporate collections of modern and contemporary art.

Miller was also an advisor to other members of the Rockefeller family, including David Rockefeller, and assisted with developing the art collections of Rockefeller Institute/University. From 1960 through the late 1980s Miller was a member of the art committee for the Port Authority of New York and New Jersey (PANJY) and was responsible for selecting much of the artwork for the World Trade Center in the 1970s. She served on numerous boards and commissions, including the Hancock Shaker Village, the Smithsonian Institution's Hirshhorn Museum and Sculpture Garden, the Empire State Plaza in Albany, Smith College Museum of Art, and the Museum of American Folk Art. She also became a member of the Mark Rothko Foundation Board of Directors after the litigation following Rothko's death between Rothko's executors and his daughter.

In the mid-1970s Miller assisted the Whitney Museum of American with planning an exhibition and supporting catalog of the work of folk artist Edward Hicks. Although the exhibition and catalog were only partially realized in 1980, Miller and Eleanore Price Mather compiled and published a book on Hicks, Edward Hicks: His Peaceable Kingdoms and Other Paintings, published in 1983.

In 1982-1983 Miller received the Art Dealers Association Special Award, an honorary degree from Williams College, and the Skowhegan School of Painting and Sculpture governor's award. In 1984 she was named honorary trustee of the Museum of Modern Art. In 1985 the Smith College Museum of Art honored her important contributions to museum connoisseurship with the exhibition Dorothy C. Miller: With An Eye to American Art.

Dorothy Miller died in 2003 at the age of 99 at her home in Greenwich, New York.
Related Material:
The Archives of American Art holds two oral history interviews with Dorothy C. Miller. The first was conducted by Paul Cummings between May 26, 1970 and September 28, 1971, and details Miller's life from childhood up to, and including, her years at the Museum of Modern Art. The second was conducted by Avis Berman on May 14, 1981 and covers Miller's relationships with Mark Rothko and Clyfford Still. Also found among the holdings of the Archives are the papers of Holger Cahill, Dorothy Miller's husband and colleague.

The Museum of Modern Art Achives holds Dorothy Miller's papers related to her curatorial work at the museum.
Provenance:
The collection was donated by Dorothy C. Miller via Wendy Jeffers between 1986 and 1997, and Reid White, Executor of Miller's estate, in 2004. Two subsequent additions were donated by Wendy Jeffers in 2014 and 2015.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Dorothy C. Miller 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:
Artists -- United States  Search this
Art, Modern -- 20th century  Search this
Art historians -- New York (State) -- New York  Search this
Art, Modern -- 20th century -- Exhibitions  Search this
Art museum curators -- New York (State) -- New York  Search this
Corporations -- Private collections  Search this
Art -- Private collections  Search this
Folk art  Search this
Genre/Form:
Photographs
Sketches
Christmas cards
Drawings
Citation:
Dorothy C. Miller papers, 1853-2013, bulk 1920-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.milldoro
See more items in:
Dorothy C. Miller papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-milldoro
Additional Online Media:

Hedda Sterne papers

Creator:
Sterne, Hedda, 1910-  Search this
Names:
Mathieu, Georges, 1921 -- Photographs  Search this
Saint-Exupéry, Antoine de, 1900-1944  Search this
Steinberg, Saul  Search this
Werth, Léon, 1878-1955  Search this
Extent:
1.3 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Transcripts
Sketchbooks
Drawings
Interviews
Date:
1939-1977
Summary:
The papers of painter Hedda Sterne measure 1.3 linear feet and date from 1939 to 1977. Found within the papers are biographical material; personal and professional correspondence, including extensive correspondence from Sterne's second husband Saul Steinberg, the artist known for his New Yorker drawings; writings; exhibition files; printed material; drawings and 3 sketchbooks; photographs and slides of Sterne, her family, and her work; and originals of Antoine de Saint-Exupéry's work Lettre A Leon Werth and 4 drawings Saint-Exupéry sent to Sterne.
Scope and Contents:
The papers of painter Hedda Sterne measure 1.3 linear feet and date from 1939 to 1977. Found within the papers are biographical material; personal and professional correspondence, including extensive correspondence from Sterne's second husband Saul Steinberg, the artist known for his New Yorker drawings; writings; exhibition files; printed material; drawings and 3 sketchbooks; photographs and slides of Sterne, her family, and her work; and originals of Antoine de Saint-Exupéry's work Lettre A Leon Werth and 4 drawings Saint-Exupéry sent to Sterne.

Biographical material includes certificates, curriculum vitae, a Fulbright application, lists of artworks, and Saul Steinberg's fingerprints. Correspondence is primarily with Sterne's friends, and business associates. There is significant correspondence from the artist Georges Mathieu and from her second husband Saul Steinberg.

Writings consist of numerous miscellaneous handwritten and typescript notes on art. Exhibition files include an article, interview transcript, and press release for Sterne's 1970 exhibition Everyone at the Betty Parsons Gallery. Printed material includes cards, clippings, exhibition announcements, and an exhibition catalog.

Artwork consists of drawings and 3 sketchbooks. Photographs are of Sterne, her family and friends, and her artwork. Materials related to Antoine de Saint-Exupéry include copies of his Lettre A Leon Werth and 4 drawings Saint-Exupéry sent to Sterne.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical materials, 1941-1970 (8 folders; Box 1)

Series 2: Correspondence, circa 1943-1965 (0.5 linear feet; Box 1-2)

Series 3: Writings, circa 1945-1965 (5 folders; Box 1)

Series 4: Exhibitions, 1970 (3 folders; Box 1)

Series 5: Printed material, 1946-1977 (3 folders; Box 1)

Series 6: Artwork, circa 1945-1965 (4 folders; Box 1)

Series 7: Photographic Materials, 1939-1969 (0.3 linear feet; Box 1-2)

Series 8: Antoine de Saint Exupéry, circa 1942 (4 folders; Box 1)
Biographical / Historical:
Painter Hedda Sterne (1910-2011) lived in New York City and was known for working in many artistic styles, including surrealism and abstract expressionism. She was the only woman in the group of abstract expressionists known as "The Irascibles."

Sterne was born in Bucharest, Romania to Simon Lindenberg, a high school language teacher, and his wife Eugenie. Her early interest in art was encouraged by her family and, after graduating from high school at the age of seventeen, she traveled to Vienna to study art. In 1932, she married childhood friend and businessman Frederick Stern. Through the 1930s, she continued to develop as an artist, traveling between Bucharest and Paris, where she attended Fernand Léger's atelier for a time. In 1938, her work with torn paper collages at that year's Paris Salon caught the eye of Hans Arp, who convinced her to exhibit at Peggy Guggenheim's London gallery. The chaos and persecution of Jews during World War II precipitated Sterne's arrival in America, where she joined her husband in New York City.

In New York, Peggy Guggenheim welcomed Sterne into her circle of artist friends and invited her to exhibit in Guggenheim's gallery in New York City, Art of This Century. In 1944, Sterne married Saul Steinberg, the artist known for his New Yorker drawings, and became a U.S. citizen. Through the 1940s, Sterne created works in realist and surrealist styles, but by the late 1940s, she began exploring abstract expressionism. In 1943, Sterne exhibited at the Wakefield Gallery, where she met the gallery manager Betty Parsons and where she received her first one woman show in 1945. After Betty Parsons opened her own gallery in 1946, Sterne joined Parsons' stable and continued to meet and befriend other prominent abstract artists. In 1950, she signed an open letter along with 14 other artists protesting the Metropolitan Museum's conservatism towards abstract art. This led to a feature article in Life magazine where she was the only woman to be photographed alongside "The Irascibles." This group included Jackson Pollock, Willem de Kooning, Barnett Newman, Mark Rothko, and Ad Reinhardt, among others. Through the 1950s, Sterne continued to explore new avenues of art by painting cityscapes, abstract mechanical structures, portraits, and faces, and by using mediums ranging from oil, spray paint, pen and ink, pencil, and diary/text reproductions on stretched canvas.

In 1960, Sterne and Steinberg separated but remained friends until his death in 1999. The recipient of numerous awards and one woman shows, retrospectives of her work were exhibited at the Montclair Art Museum (1977), Queens Museum of Art (1985), and the Krannert Art Museum (2006). Sterne died in her home in Manhattan in 2011 at the age of 100.
Related Materials:
Also found in the Archives is an oral history interview with Hedda Sterne conducted by Phyllis Tuchman, December 17, 1981, for the Archives of American Art's Mark Rothko and His Times oral history project. Additional correspondence and photographs of Sterne are located in the Saul Steinberg papers at the Beinecke Rare Book and Manuscript Library at Yale University.
Provenance:
Hedda Sterne donated her papers in 1970, 1971, and 1972.
Restrictions:
Use of original papers requires an appointment and is limited to the Archvies' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Hedda Sterne 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:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Women painters -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Transcripts
Sketchbooks
Drawings
Interviews
Citation:
Hedda Sterne papers, 1939-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sterhedd
See more items in:
Hedda Sterne papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sterhedd
Additional Online Media:

Biographical Materials

Collection Creator:
Sterne, Hedda, 1910-  Search this
Extent:
8 Folders (Box 1)
Type:
Archival materials
Date:
1941-1970
Scope and Contents:
Biographical material consists of educational and medical travel certificates and identification, curriculum vitae, employment contracts, customs forms, a Fulbright application, lists of artwork from 1952-1954, and Saul Steinberg's fingerprints.
Arrangement:
Materials are arranged by document type.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archvies' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Hedda Sterne papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Hedda Sterne papers, 1939-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sterhedd, Series 1
See more items in:
Hedda Sterne papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-sterhedd-ref13

Correspondence

Collection Creator:
Sterne, Hedda, 1910-  Search this
Extent:
0.5 Linear feet (Box 1-2)
Type:
Archival materials
Date:
circa 1943-1965
Scope and Contents:
Correspondence is primarily with Sterne's business associates and friends, including limited correspondence with Ad Reinhardt and Eugene Berman. Art related correspondence is with galleries, museums, and art institutions. The series also includes significant correspondence from the artist Georges Mathieu and from her second husband, the artist and New Yorker illustrator Saul Steinberg.

The letters from Mathieu are written in French. Letters from Steinberg date from 1943 to 1962 and include love letters, illustrated letters, notes, drawings, and descriptions of his work and daily life while traveling abroad or separately from Sterne. They include detail of Steinberg's Navy service in Italy, North Africa, and China during World War II, publication of work in Vogue and the New Yorker, updates on work acquaintances and family members, and progress on art projects by Sterne and Steinberg.
Arrangement:
Correspondence is arranged alphabetically by correspondent.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archvies' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Hedda Sterne papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Hedda Sterne papers, 1939-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sterhedd, Series 2
See more items in:
Hedda Sterne papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-sterhedd-ref14

Writings

Collection Creator:
Sterne, Hedda, 1910-  Search this
Extent:
5 Folders (Box 1)
Type:
Archival materials
Date:
circa 1945-1965
Scope and Contents:
Writings consist of numerous miscellaneous handwritten and typescript notes on art with references to art theory, literature, philosophy, biology, and psychiatry.
Arrangement:
Materials are arranged by document type.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archvies' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Hedda Sterne papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Hedda Sterne papers, 1939-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sterhedd, Series 3
See more items in:
Hedda Sterne papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-sterhedd-ref15

Exhibitions

Collection Creator:
Sterne, Hedda, 1910-  Search this
Extent:
3 Folders (Box 1)
Type:
Archival materials
Date:
1970
Scope and Contents:
Exhibition files consists of materials related to Sterne's 1970 exhibition Everyone at the Betty Parsons Gallery. There is an exhibition press release, a typescript article by Walter Abish, and two copies of an interview transcript.
Arrangement:
Materials are arranged by document type.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archvies' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Hedda Sterne papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Hedda Sterne papers, 1939-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sterhedd, Series 4
See more items in:
Hedda Sterne papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-sterhedd-ref16

Printed Material

Collection Creator:
Sterne, Hedda, 1910-  Search this
Extent:
3 Folders (Box 1)
Type:
Archival materials
Date:
1946-1977
Scope and Contents:
Printed material consists of postcards, greeting card samples, clippings on Sterne and Saul Steinberg, exhibition announcements and the exhibition catalog for Sterne's 1977 retrospective exhibition at the Montclair Art Museum.
Arrangement:
Materials are arranged by document type.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archvies' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Hedda Sterne papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Hedda Sterne papers, 1939-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sterhedd, Series 5
See more items in:
Hedda Sterne papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-sterhedd-ref17

Artwork

Collection Creator:
Sterne, Hedda, 1910-  Search this
Extent:
4 Folders (Box 1)
Type:
Archival materials
Date:
circa 1945-1965
Scope and Contents:
Artwork consists of drawings and 3 sketchbooks of Sterne's abstract and figurative ink sketches and notes.
Arrangement:
Materials are arranged by document type.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archvies' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Hedda Sterne papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Hedda Sterne papers, 1939-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sterhedd, Series 6
See more items in:
Hedda Sterne papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-sterhedd-ref18

Photographic Materials

Collection Creator:
Sterne, Hedda, 1910-  Search this
Extent:
0.3 Linear feet (Box 1-2)
Type:
Archival materials
Date:
1939-1969
Scope and Contents:
Photographs are of Sterne, Sterne with Saul Steinberg and others, and of artwork. Two of the photographs of Sterne and Steinberg were taken by fashion photographers Irving Penn and George Platt Lynes respectively, two photos of Sterne were taken by Evelyn Hofer, and a color photo of Sterne was taken by Margaret Bourke White.
Arrangement:
Materials are arranged by document type and subject matter.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archvies' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Hedda Sterne papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Hedda Sterne papers, 1939-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sterhedd, Series 7
See more items in:
Hedda Sterne papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-sterhedd-ref19

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