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Robert Schoelkopf Gallery  Search this
Andrejevic, Milet  Search this
Brassaï  Search this
Bell, Leland  Search this
Bailey, William  Search this
Aponovich, James  Search this
Nadelman, Elie  Search this
Myers, Ethel  Search this
Schoelkopf, Robert J.  Search this
Storrs, John Henry Bradley  Search this
Stella, Joseph  Search this
Wiesenfeld, Paul  Search this
Freund, Gisèle  Search this
Horton, William S.  Search this
Ito, Miyoko  Search this
Lachaise, Gaston  Search this
Laderman, Gabriel  Search this
Ligare, David  Search this
Matthiasdottir, Louisa  Search this
Matulka, Jan  Search this
Cameron, Julia Margaret Pattle  Search this
Cartier-Bresson, Henri  Search this
Cornell, Joseph  Search this
Dawson, Manierre  Search this
Driggs, Elsie  Search this
Erlebacher, Martha Mayer  Search this
Evans, Walker  Search this
Fiske, Gertrude  Search this
Zabriskie Gallery  Search this
Gallery records
Illustrated letters
Place of publication, production, or execution:
United States
Physical Description:
29 Linear feet
Originally the collection was organized as one large file arranged alphabetically by folder title, with titles ranging from names of artists to general subject headings such as "Correspondence." During processing it became clear that the gallery delineated operations into three main functions: artist relations, client-dealer relations, and exhibitions. Consequently the collection is arranged as three main series based on these areas of concern. A small group of miscellaneous photographs of artists constitutes an additional series at the end of the collection. Originally paper records throughout the collection were generally arranged chronologically, although this order was not strictly adhered to. Frequently, correspondence and memoranda were attached to related records going back several years. To preserve the relationship between such documents, records stapled together in this way have been left together. They are arranged in reverse chronological order and filed in the folder corresponding to the primary date (i.e., the date of the first and most recent paper in the group). Researchers should be aware that date ranges provided on folders refer to the primary dates of documents contained therein and that some items in the folder may predate that range. Otherwise, the general chronological scheme has been retained throughout the collection, with undated material placed at the beginning of the appropriate file. Printed material is arranged in chronological order, with undated material at the beginning of the folder, and may include press releases, exhibition announcements, exhibition catalogs, posters, clippings from newspapers, magazines, and journals, and other publicity material. Large amounts of printed material are broken down into several discrete folder units. The most consistent labeling system for photographic material apparent throughout the collection was title of work of art. The majority of images are not dated with a printing date or the date that the work of art was produced, and although many of them have a processing number, these are by no means consistent and there are no master lists that can be used to interpret them. Consequently, images are arranged primarily by media type and then alphabetically by title. Untitled images are placed at the beginning of a media group; "the" in a title is ignored. Exceptions to this method are addressed in the appropriate series descriptions. Files labeled "Photographs of Works of Art" will typically include any or all of the following: black-and-white copy prints, black-and-white transparencies, color transparencies, slide transparencies, Polaroid prints, color snapshots, contact sheets, and separation sheets. Often the same image will be duplicated in several different formats. Any notes on photographic material found in or on the original folder in which the material was filed have been preserved with the material or transcribed onto a sheet of acid-free paper that either encloses or is placed directly before the item to which the information applies. The designation "General" indicates that a file may contain any or all of the types of material outlined above. Series 1: Artist Files, 1851-1991, undated (Boxes 1-23; 23 linear ft.) Series 2: General Business Files, 1960-1991, undated (Boxes 24-28; 4.74 linear ft.) Series 3: Group Exhibition Files, 1960-1988, undated (Boxes 28-29; 1 linear ft.) Series 4: Photographs of Artists, undated (Box 29; 0.25 linear ft.)
Access Note / Rights:
The collection is open for research. Use requires an appointment.
The collection comprises 29 linear feet of records that document the day-to-day administration of the Robert Schoelkopf Gallery from 1962 to 1991, with additional items predating the founding of the gallery from 1851 to 1961. The collection records artist and client relations, exhibitions, and daily business transactions through artist files, correspondence, printed matter, and photographic material.
Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.
Funding for the processing of this collection was provided by the Getty Foundation.
Use Note:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Biography Note:
Robert Schoelkopf, Jr., was born in Queens, New York, in 1927. He graduated from Yale College in 1951 with a bachelor of arts degree and then taught briefly at his alma mater while conducting graduate research in art history. Schoelkopf began his career in commercial art in 1957 as an independent dealer of American painting and sculpture and became a member of the Art Dealers Association of America in 1958. In 1959 he formed a partnership with Virginia Zabriskie, of the Zabriskie Gallery in New York, which lasted until 1962. The gallery exhibited late-nineteenth and early-twentieth-century American painting, together with contemporary painting of a somewhat conservative style.
Language Note:
English .
Twenty-seven linear feet of records were donated to the Archives of American Art by Laura Jane Schoelkopf, Robert Schoelkopf's widow, and the Coe Kerr Gallery in 1991 and 1992. An additional gift of 3.4 linear feet was donated by Laura Jane Schoelkopf in 1996. The collection was reduced slightly during processing.
Location Note:
Archives of American Art, Smithsonian Institution, 750 9th St. NW, Washington, D.C. 20001
Art, Modern -- 20th century  Search this
Works of art  Search this
Photography, Artistic  Search this
Realism  Search this
Art, American  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Record number:
The Art Market
Art Gallery Records
Data Source:
Archives of American Art