Search Results

Creator:

Kuh, Katharine, 1904-1994  Search this

Kuh, Katharine, 1904-1994  Search this

Subject:

Johns, Jasper  Search this

Guggenheim, Peggy  Search this

Feitelson, Lorser  Search this

Falkenstein, Claire  Search this

Davis, Stuart  Search this

Elizabeth, Queen of Great Britain, II  Search this

Motherwell, Robert  Search this

Moholy-Nagy, László  Search this

Millier, Arthur  Search this

Mies van der Rohe, Ludwig  Search this

O'Higgins, Pablo  Search this

Nutting, Myron Chester  Search this

Nutting, Muriel Leone Tyler  Search this

Mérida, Carlos  Search this

Perkins, Frances  Search this

Ozbekhan, Hasan  Search this

Orozco, José Clemente  Search this

Calder, Alexander  Search this

Arensberg, Louise S. (Louise Stevenson)  Search this

Rich, Daniel Catton  Search this

Ray, Man  Search this

Biddle, George  Search this

Pollack, Peter  Search this

Seligmann, Kurt  Search this

Shackelford, Shelby  Search this

Sandberg, Carl  Search this

Putnam, Wallace  Search this

Sterne, Hedda  Search this

Shahn, Ben  Search this

Spaeth, Otto  Search this

Tobey, Mark  Search this

Winston, Harry Lewis  Search this

Barnet, Will  Search this

Still, Clyfford  Search this

Tanning, Dorothea  Search this

Woolf, Olga  Search this

Young, Victor  Search this

Goto, Joseph  Search this

Golub, Leon  Search this

Graves, Robert  Search this

Grabe, Klaus  Search this

Giacometti, Alberto  Search this

Friendly, Fred W.  Search this

Hirshhorn, Joseph  Search this

Hayter, Stanley William  Search this

Hélion, Jean  Search this

Hofmann, Hans  Search this

Barr, Alfred H., Jr.  Search this

Hare, Denise Browne  Search this

Hare, David  Search this

Kandinsky, Wassily  Search this

Kepes, Gyorgy  Search this

Kepes, Juliet  Search this

Inverarity, Robert Bruce  Search this

Johnson, Philip  Search this

Johnson, Ray  Search this

Le Corbusier  Search this

Lundeberg, Helen  Search this

Lye, Len  Search this

Léger, Fernand  Search this

Klee, Paul  Search this

Kline, Franz  Search this

Stevenson, Adlai E. (Adlai Ewing)  Search this

Knox, Seymour H.  Search this

Archipenko, Alexander  Search this

Albright, Ivan  Search this

Albers, Josef  Search this

Adams, Ansel  Search this

Guston, Philip  Search this

Arp, Jean  Search this

Arensberg, Walter  Search this

Cornell, Joseph  Search this

Picasso, Pablo  Search this

Cox, Richard  Search this

Rothko, Mark  Search this

Chavez Morado, José  Search this

Chermayeff, Serge  Search this

Campoli, Cosmo  Search this

Chagall, Marc  Search this

Breuer, Marcel  Search this

Ernst, Jimmy  Search this

Dubuffet, Jean  Search this

Duchamp, Marcel  Search this

De Kooning, Willem  Search this

Dickinson, Edwin Walter  Search this

Day, Worden  Search this

Katharine Kuh Gallery (Chicago, Ill.)  Search this

Art Institute of Chicago  Search this

Albright-Knox Art Gallery  Search this

Biennale di Venezia  Search this

Type:

Illustrated letters

Resumes

Travel diaries

Minutes

Calendars

Visitors' books

Photographs

Paintings

Awards

Drawings

Sound recordings

Collages

Scrapbooks

Lithographs

Prints

Wills

Watercolors

Poetry

Lecture notes

Lectures

Sales records

Topic:

Art, Abstract -- United States  Search this

Art, American  Search this

Art, Modern -- 20th century -- United States  Search this

Women art dealers  Search this

Women art historians  Search this

Women museum curators  Search this

Women authors  Search this

Women art critics  Search this

Theme:

Art Theory and Historiography  Search this

Women  Search this

Art Gallery Records  Search this

Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this

Record number:

(DSI-AAA_CollID)9951

(DSI-AAA_SIRISBib)212503

AAA_collcode_kuhkath

Theme:

Art Theory and Historiography

Women

Art Gallery Records

Chicago's Art-Related Archival Materials: A Terra Foundation Resource

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_212503

Artist:

Hans Namuth, 17 Mar 1915 - 13 Oct 1990  Search this

Sitter:

Joseph Cornell, 24 Dec 1903 - 29 Dec 1972  Search this

Medium:

Gelatin silver print

Dimensions:

Image: 33.9cm x 22.9cm (13 3/8" x 9")

Sheet: 40.3cm x 36.1cm (15 7/8" x 14 3/16")

Type:

Photograph

Date:

1971

Topic:

Exterior\Landscape\Rural  Search this

Joseph Cornell: Male  Search this

Joseph Cornell: Visual Arts\Artist\Sculptor  Search this

Joseph Cornell: Literature\Writer\Art  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift of the Estate of Hans Namuth

Object number:

NPG.95.132

Restrictions & Rights:

Usage conditions apply

Copyright:

© Hans Namuth Ltd.

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4c09ea2e6-2ede-4c08-a8bb-7b8311bb652d

EDAN-URL:

edanmdm:npg_NPG.95.132

Creator:

Ashton, Dore  Search this

Subject:

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 1901-1978  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 1910-2011  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

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

Physical description:

35.6 linear feet

Type:

Sketchbooks

Collection descriptions

Date:

1849

1849-2014

1849, circa 1928-2014

20th century

Topic:

Art criticism  Search this

Art, Modern  Search this

Dadaism  Search this

Poetry  Search this

Women art critics  Search this

Local number:

aaa 5143-5152

AAA ashtdore

Restrictions & Rights:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center

See more items in:

Dore Ashton papers, 1849, circa 1928-2014

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:siris_arc_208698

Creator:

Ribicoff, Belle Krasne, 1924-  Search this

Names:

Storm King Art Center  Search this

Wadsworth Atheneum  Search this

Albee, Edward, 1928-  Search this

Arp, Jean, 1887-1966  Search this

Ashton, Dore  Search this

Bailey, William, 1930-2020  Search this

Bazaine, Jean, 1904-2001  Search this

Benn, Ben, 1884-  Search this

Bloom, Claire, 1931-  Search this

Chelimsky, Oscar  Search this

Cornell, Joseph  Search this

D'Harnoncourt, Rene, 1901-1968  Search this

De Vries, Peter, 1910-1993  Search this

Dorazio, Piero, 1927-  Search this

Dorazio, Virginia Dortch  Search this

Ferren, John, 1905-1970  Search this

Fitzsimmons, James, 1919-1985  Search this

Foote, Horton  Search this

Frankenthaler, Helen, 1928-2011  Search this

Geist, Sidney  Search this

Gottlieb, Adolph, 1903-1974  Search this

Graham, John, 1887-1961  Search this

Greenberg, Clement, 1909-1994  Search this

Greene, Balcomb, 1904-1990  Search this

Holty, Carl, 1900-1973  Search this

Kazan, Elia  Search this

Kelly, Ellsworth, 1923-  Search this

Krautheimer, Richard, 1897-  Search this

Lamos, Mark  Search this

Lebrun, Rico, 1900-1964  Search this

Matisse, Pierre, 1900-1989  Search this

Morris, George L. K., 1905-1975  Search this

Parsons, Estelle  Search this

Pearlstein, Philip, 1924-  Search this

Ribicoff, Abraham, 1910-1998  Search this

Richardson, Edgar Preston, 1902-1985  Search this

Ritchie, Andrew Carnduff  Search this

Rosenborg, Ralph M., 1913-1992  Search this

Roszak, Theodore, 1907-1981  Search this

Saarinen, Eero, 1910-1961  Search this

Salpeter, Harry  Search this

Shapiro, Karl Jay, 1913-  Search this

Skinner, Cornelia Otis, 1901-  Search this

Smith, David, 1906-1965  Search this

Soby, James Thrall, 1906-1979  Search this

Travers, P. L.(Pamela Lyndon), 1899-1996  Search this

Valentin, Curt, 1902-1954  Search this

Van Doren, Mark, 1894-1972  Search this

Yunkers, Adja, 1900-1983  Search this

Extent:

1.6 Linear feet

Type:

Collection descriptions

Archival materials

Sketches

Drafts (documents)

Photographs

Prints

Illustrated letters

Postcards

Christmas cards

Date:

1942-circa 2010

bulk 1945-2004

Summary:

The papers of Belle Krasne Ribicoff measure 1.6 linear feet and date from 1942-circa 2010, with the bulk of the collection dating from 1945-2004. Papers include biographical materials; correspondence with artists, art historians, writers, museum directors, and others; individual files relating to Belle and Irving Ribicoff's art collection and the Friends of Abe Ribicoff's campaign for the United States Senate; artwork; printed material, e.g., clippings, announcements, exhibition catalogues, brochures; and photographs. The collection documents Ribicoff's career as an arts editor, critic, and her involvement in civic and arts organizations for the State of Connecticut.

Scope and Content Note:

The papers of Belle Krasne Ribicoff measure 1.6 linear feet and date from 1942-circa 2010, with the bulk of the collection dating from 1945-2004. Papers include biographical materials; correspondence with artists, art historians, writers, museum directors, and others; individual files relating to Belle and Irving Ribicoff's art collection and the Friends of Abe Ribicoff's campaign for the United States Senate; artwork; printed material, e.g., clippings, announcements, exhibition catalogues, brochures; and photographs. The collection documents Ribicoff's career as an arts editor, critic, and her involvement in civic and arts organizations for the State of Connecticut.

Biographical materials include documentation of the Buttenweiser Prize awarded to Belle Krasne by the Art History Departmental Honors at Vassar College in 1945 and curriculum vitae.

Correspondence, primarily incoming letters consists of letters, postcards, draft versions, and copies of e-mails. Belle Krasne Ribicoff was friends with many artists; their letters focus on daily activities, work, and the art world. Among the correspondents are Oscar and Eleanor Chelminsky, Joseph Cornell, Piero and Virginia Dorazio, John and Rae Ferren, Helen Frankenthaler, James Fitzsimmons, Adolph Gottlieb, John Graham, Ellsworth Kelly, Frank Modell, George L.K. Morris, Philip Pearlstein, Eero Saarinen, David Smith, and Adja Yunkers. There is substantial correspondence from Ben Benn, Sidney Geist, Leon Hartley, Ralph Rosenborg, and Theodore Roszak. Also found are love letters to Belle Krasne Ribicoff from Jean Bazaine. Many of the artists' letters are illustrated. Of note, are a letter from Carl Holty to J.B. Neumann and an artist's statement written by Adolph Gottlieb.

Ribicoff had a professional and personal relationship with a number of prominent writers, actors, and other individuals known for their work in the arts, such as Edward Albee, Claire Bloom, Peter DeVries, Horton Foote, Elia Kazan, Mark Lamos, Estelle Parsons, Karl Shapiro, Cornelia Otis Skinner, and P.L. Travers. There are letters from museum directors, art historians, and other well-known cultural figures, such as Dore Ashton, Clement Greenberg, Balcomb Greene, Rene d'Harnoncourt, Pierre Matisse, E. P. Richardson, Andrew C. Ritchie, Harry Salpeter, Curt Valentin, and Mark Van Doren. Also found are files of holiday cards, many original artwork; letters to Ribicoff upon her departure from Art Digest; letters from representatives at Storm King Art Center Museum and the Wadsworth Atheneum; and letters from unidentified correspondents.

The Ribicoff collection relates to the personal art collection of Belle and Irving Ribicoff; materials document the purchase and sale of artwork and the lending of artwork for exhibitions. There is a file of petition letters sponsored by the Friends of Abe Ribicoff campaign for the United States Senate.

Original artwork includes prints by Jean Arp and Adja Yunkers and pencil sketches of Sarai Ribicoff by William Bailey. Printed material consists of news clippings; a periodical; exhibition announcements; brochures; an offprint of an article by Cleve Gray; and miscellaneous printed material.

Photographs contain black and white photographs of Belle Krasne Ribicoff, Ben and Velida Benn, Richard Krautheimer, and of the jurors attending the Carnegie International exhibition (circa 1954), including Jean Bazaine, Rico Lebrun, Eric Newton, and James Thrall Soby.

Arrangement:

The collection is arranged into 7 series:

Missing Title

Series 1: Biographical Material, 1945, circa 2010 (Box 1; 1 folder)

Series 2: Belle Krasne Ribicoff Correspondence, 1942-2007 (Boxes 1, 3; 1.0 linear feet)

Series 3: The Ribicoff Collection, 1949-1988 (Box 1; 0.2 linear feet)

Series 4: Friends of Abe Ribicoff Campaign, 1968 (Box 1; 0.1 linear feet)

Series 5: Artwork, circa 1950s-1978 (Box 1, OV 4; 0.1 linear feet)

Series 6: Printed Material, 1948-2000 (Box 1; 0.1 linear feet)

Series 7: Photographs, 1945-circa 2007 (Boxes 1-2; 0.1 linear feet)

Biographical Note:

Belle Krasne Ribicoff (b. 1924) lives in Hartford, Connecticut and has served as an arts editor, critic, and university administrator.

Ribicoff was born and raised in New York City. She graduated Phi Beta Kappa with a degree in art history from Vassar College in 1945. After a brief stint with an advertising agency in New York, Ribicoff became Assistant Editor at Magazine of Art (1946-1947), where she developed an interest in contemporary art. She served as editor for such publications as Art News (1948-1949), Art Digest (1949-1954), and Craft Horizons (1954-1955).

In 1955, she married Irving S. Ribicoff (1915-1994), an attorney and moved to Hartford, Connecticut. The Ribicoffs' had two daughters, Dara (b. 1956) and Sarai (1957-1980).

Ribicoff has held various positions at the University of Hartford: Development Director at the Hartford School of Art (1980-1981), Development Liaison to the Office of President (1982-1988), and Associate Vice President for Public Affairs (1980-1983). Belle Krasne Ribicoff has served as a professional volunteer for educational and cultural organizations in Connecticut; she has been involved in efforts to make the arts a part of the school curriculum. She was Vice-President of the Hartford Board of Education (1961-1967; 1965-1971) and was Chairman of the State of Connecticut's Commission on the Arts (1965-1971). Ribicoff is a Life Director at the Hartford Stage Company and a Life Regent at the University of Hartford. She is a Sterling Fellows at Yale University and sits on the President's Advisory Committee at Vassar College.

Belle Krasne Ribicoff has received recognition for her professional and public service contributions by a number of institutions. In 1954, she received the Frank Jewett Mather Award for critical writing from the College Art Association. Other honors have included: Charter Oak Leadership Medal for Distinguished Service (1968), the University of Hartford Medal for Distinguished Service (1995), and the Spirit of Vassar award for outstanding commitment and service to Vassar or another community (2005).

Related Material:

Also found at the Archives of American Art is Belle Krasne's letter to Philip Pavia, May 14, 1954 on microfilm reel 3470.

Provenance:

The collection was donated by Belle Krasne Ribicoff to the Archives of American Art in 2008.

Restrictions:

Use of original material requires an appointment.

Letters from Jean Bazaine to Belle Krasne Ribicoff and sketches of Sarai Ribicoff by William Bailey are access restricted. Their use requires written permission.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Art critics -- Connecticut  Search this

Editors -- Connecticut  Search this

Topic:

Art -- Collectors and collecting  Search this

Art, American  Search this

Genre/Form:

Sketches

Drafts (documents)

Photographs

Prints

Illustrated letters

Postcards

Christmas cards

Citation:

Belle Krasne Ribicoff papers, 1942-circa 2010 bulk 1945-2004. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.krasbell2

See more items in:

Belle Krasne Ribicoff papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91c413ec6-93d1-49eb-aefe-563ddcb130b4

EDAN-URL:

ead_collection:sova-aaa-krasbell2

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:

Collection descriptions

Archival materials

Diaries

Photographs

Sketchbooks

Transcripts

Date:

circa 1928-2014

1849

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.

Missing Title

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 Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Art critics -- New York (State) -- New York  Search this

Art historians -- New York (State) -- New York  Search this

Authors -- New York (State) -- New York  Search this

Educators -- New York (State) -- New York  Search this

Topic:

Women art critics  Search this

Women art historians  Search this

Women authors  Search this

Women educators  Search this

Art criticism  Search this

Art, Modern  Search this

Art -- Study and teaching  Search this

Artists -- United States  Search this

Genre/Form:

Diaries

Photographs

Sketchbooks

Transcripts

Citation:

Dore Ashton papers, 1849, circa 1928-2014. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of a portion of this collection was provided the Smithsonian Institution Collections Care and Preservation Fund

Identifier:

AAA.ashtdore

See more items in:

Dore Ashton papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96b23d022-d02d-4a06-ba62-e34c59ad25ae

EDAN-URL:

ead_collection:sova-aaa-ashtdore

Creator:

Blaine, Nell 1922-1996  Search this

Subject:

Astor, E  Search this

Cooper, Patricia  Search this

Cornell, Joseph  Search this

Evans, Dilys  Search this

Flotow, Olga von  Search this

Freilicher, Jane 1924-  Search this

Garth, Midi  Search this

Goff, Eleanor  Search this

Griffin, Howard 1915-1975  Search this

Harmsworth, Margaret  Search this

Jason, Harry  Search this

Klonsky, Milton  Search this

Kresch, Albert  Search this

Levertov, Denise 1923-  Search this

Ross, Alvin 1920-1975  Search this

Smith, Constance  Search this

Watrous, Jane  Search this

Young, Gayle  Search this

Gazzolo, Beatrice  Search this

Auden, W. H (Wystan Hugh) 1907-1973  Search this

Tobey, Mark  Search this

Von Wicht, John 1888-1970  Search this

Kinnell, Galway 1927-  Search this

Wright, Clifford 1919-  Search this

Garrigue, Jean 1912-1972  Search this

Guggenheim, Peggy 1898-  Search this

Laughlin, Clarence John  Search this

Barker, Kit 1916-1988  Search this

Moore, Marianne 1887-1972  Search this

O'Hara, Frank 1926-1966  Search this

Rivers, Larry 1925-2002  Search this

Griffin, Howard 1915-1975 Papers, ca. 1950-1971  Search this

Physical description:

2.7 linear ft. (partially microfilmed on 1 reel)

Type:

Archival materials

Collection descriptions

Photographs

Place:

New York (State)

New York

Date:

1930

1930-1980

1930-1985

Topic:

Painting, Abstract  Search this

Figure painting  Search this

Women painters  Search this

Artists' studios  Search this

Local number:

AAA D311

AAA

AAA blainell

Restrictions & Rights:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information

See more items in:

Nell Blaine papers, 1930-1985

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:siris_arc_209351

Creator:

Kuh, Katharine  Search this

Names:

Albright-Knox Art Gallery  Search this

Art Institute of Chicago -- Faculty  Search this

Biennale di Venezia  Search this

Katharine Kuh Gallery (Chicago, Ill.)  Search this

Adams, Ansel, 1902-1984  Search this

Albers, Josef  Search this

Albright, Ivan, 1897-1983  Search this

Archipenko, Alexander, 1887-1964  Search this

Arensberg, Louise S. (Louise Stevenson), 1879-1953  Search this

Arensberg, Walter, 1878-1954  Search this

Arp, Jean, 1887-1966  Search this

Barnet, Will, 1911-  Search this

Barr, Alfred H., Jr., 1902-1981  Search this

Biddle, George, 1885-1973  Search this

Breuer, Marcel, 1902-  Search this

Calder, Alexander, 1898-1976  Search this

Campoli, Cosmo  Search this

Chagall, Marc, 1887-1985  Search this

Chavez Morado, José, 1909-2002  Search this

Chermayeff, Serge, 1900-  Search this

Cornell, Joseph  Search this

Cox, Richard  Search this

Davis, Stuart, 1892-1964  Search this

Day, Worden, 1916-1986  Search this

De Kooning, Willem, 1904-1997  Search this

Dickinson, Edwin Walter, 1891-1978  Search this

Dubuffet, Jean, 1901-  Search this

Duchamp, Marcel, 1887-1968  Search this

Elizabeth, Queen of Great Britain, II, 1926-  Search this

Ernst, Jimmy, 1920-1984  Search this

Falkenstein, Claire, 1908-1997  Search this

Feitelson, Lorser, 1898-1978  Search this

Friendly, Fred W.  Search this

Giacometti, Alberto, 1901-1966  Search this

Golub, Leon, 1922-2004  Search this

Goto, Joseph, 1920-  Search this

Grabe, Klaus  Search this

Graves, Robert, 1895-1985  Search this

Guggenheim, Peggy, 1898-  Search this

Guston, Philip, 1913-1980  Search this

Hare, David, 1917-  Search this

Hare, Denise Browne  Search this

Hayter, Stanley William, 1901-1988  Search this

Hirshhorn, Joseph  Search this

Hofmann, Hans, 1880-1966  Search this

Hélion, Jean, 1904-1987  Search this

Inverarity, Robert Bruce, 1909-1999  Search this

Johns, Jasper, 1930-  Search this

Johnson, Philip, 1906-2005  Search this

Johnson, Ray, 1927-  Search this

Kandinsky, Wassily, 1866-1944  Search this

Kepes, Gyorgy, 1906-2001  Search this

Kepes, Juliet  Search this

Klee, Paul, 1879-1940  Search this

Kline, Franz, 1910-1962  Search this

Knox, Seymour H., 1898-1990  Search this

Le Corbusier, 1887-1965  Search this

Lundeberg, Helen, 1908-1999  Search this

Lye, Len, 1901-1980  Search this

Léger, Fernand, 1881-1955  Search this

Mies van der Rohe, Ludwig, 1886-1969  Search this

Millier, Arthur, 1893-  Search this

Moholy-Nagy, László, 1895-1946  Search this

Motherwell, Robert  Search this

Mérida, Carlos, 1891-1984  Search this

Nutting, Muriel Leone Tyler, b. 1892  Search this

Nutting, Myron Chester, 1890-1972  Search this

O'Higgins, Pablo, 1904-  Search this

Orozco, José Clemente, 1883-1949  Search this

Ozbekhan, Hasan, 1921-2007  Search this

Perkins, Frances  Search this

Picasso, Pablo, 1881-1973  Search this

Putnam, Wallace, 1899-1989  Search this

Ray, Man, 1890-1976  Search this

Rich, Daniel Catton, 1904-1976  Search this

Rothko, Mark, 1903-1970  Search this

Sandberg, Carl  Search this

Seligmann, Kurt, 1900-1962  Search this

Shackelford, Shelby  Search this

Shahn, Ben, 1898-1969  Search this

Spaeth, Otto, d. 1966  Search this

Sterne, Hedda, 1916-  Search this

Stevenson, Adlai E. (Adlai Ewing), 1900-1965  Search this

Still, Clyfford, 1904-  Search this

Tanning, Dorothea, 1910-2012  Search this

Tobey, Mark  Search this

Winston, Harry Lewis  Search this

Woolf, Olga  Search this

Young, Victor  Search this

Photographer:

Pollack, Peter, 1909-1978  Search this

Extent:

12 Linear feet

Type:

Collection descriptions

Archival materials

Illustrated letters

Resumes

Travel diaries

Minutes

Calendars

Visitors' books

Photographs

Paintings

Awards

Drawings

Sound recordings

Collages

Scrapbooks

Lithographs

Prints

Wills

Watercolors

Poetry

Lecture notes

Lectures

Sales records

Date:

1875-1994

bulk 1930-1994

Summary:

The papers of art historian, dealer, critic, and curator Katharine Kuh measure 12 linear feet and date from 1875-1994, with the bulk of the material dating from 1930-1994. The collection documents Kuh's career as a pioneer modernist art historian and as the first woman curator of European Art and Sculpture at the Art Institute of Chicago. Found within the papers are biographical material; correspondence with family, friends and colleagues; personal business records; artwork by various artists; a travel journal; writings by Kuh and others; scrapbooks; printed material; photographs of Kuh and others; and audio recordings of Kuh's lectures and of Daniel Catton Rich reading poetry.

Scope and Content Note:

The papers of art historian, dealer, critic, and curator Katharine Kuh measure 12 linear feet and date from 1875-1994, with the bulk of the material dating from 1930-1994. Found within the papers are biographical material; correspondence with family, friends and colleagues; personal business records; artwork by various artists; a travel journal; writings by Kuh and others; scrapbooks; printed material; photographs of Kuh and others; and audio recordings of Kuh's lectures and of Daniel Catton Rich reading poetry.

Biographical material consists of copies of Kuh's birth certificate, resumés, passports, award certificates, honorary diplomas, and address books listing information about several prominent artists and colleagues.

Four linear feet of correspondence offers excellent documentation of Kuh's interest in art history, her travels, her career at the Art Institute of Chicago, her work as a corporate art advisor, and as an author. There are letters from her mother Olga Woolf, friends, and colleagues. There is extensive correspondence with various staff members of the Art Institute of Chicago, the First National Bank of Chicago, and The Saturday Review. Also of interest are letters from artists and collectors, several of whom became life-long friends including Walter and Louise Arensberg, Cosmo Campoli, Serge Chermayeff, Richard Cox, Worden Day, Claire Falkenstein, Fred Friendly, Leon Golub, Joseph Goto, David Hare, Denise Brown Hare, Jean Hélion, Ray Johnson, Gyorgy and Juliet Kepes, Len Lye, Wallace Putnam, Kurt Seligmann, Shelby Shackelford, Hedda Sterne, and Clyfford Still. Many letters are illustrated with original artwork in various media.

There are also scattered letters from various artists and other prominent individuals including Josef Albers, George Biddle, Marcel Breuer, Joseph Cornell, Stuart Davis, Edwin Dickinson, Joseph Hirshhorn, Daniel Catton Rich, and Dorothea Tanning.

Personal business records include a list of artwork, Olga Woolf's will, inventories of Kuh's personal art collection, miscellaneous contracts and deeds of gift, receipts for the sale of artwork, files concerning business-related travel, and miscellaneous receipts.

Artwork in the collection represents a wide range of artist friends and media, such as drawings, watercolors, paintings, collages, and prints. Included are works by various artists including lithographs by David Hare and a watercolor set, Technics and Creativity, designed and autographed by Jasper Johns for the Museum of Modern Art, 1970.

Notes and writings include annotated engagement calendars, travel journals for Germany, a guest book for the Kuh Memorial gathering, and many writings and notes by Kuh for lectures and articles concerning art history topics. Of interest are minutes/notes from meetings for art festivals, conferences, and the "Conversations with Artists Program (1961). Also found are writings by others about Kuh and other art history topics.

Six scrapbooks contain clippings that document the height of Kuh's career as a gallery director and museum curator. Scrapbook 6 contains clippings about Fernand Léger, the subject of a retrospective exhibition at the Art Institute of Chicago in 1953.

Additional printed material includes clippings about Kuh and her interests, a comprehensive collection of clippings of Kuh's articles for The Saturday Review, exhibition announcements and catalogs, calendars of events, programs, brochures, books including Poems by Kuh as a child, and reproductions of artwork. Of particular interest are the early and exhibition catalogs from the Katharine Kuh Gallery, and rare catalogs for artists including Jean Arp, Alexander Calder, Marc Chagall, Jean Dubuffet, Marcel Duchamp, Stanley William Hayter, Hans Hofmann, Wassily Kandinsky, Paul Klee, Franz Kline, Le Corbusier, Ludwig Mies van der Rohe, and Pablo Picasso.

Photographs provide important documentation of the life and career of Katharine Kuh and are of Kuh, family members, friends, colleagues, events, residences, and artwork. Several of the photographs of Kuh were taken by Will Barnet and Marcel Breuer and there is a notable pair of photo booth portraits of Kuh and a young Ansel Adams. There are also group photographs showing Angelica Archipenko with Kuh; designer Klaus Grabe; painters José Chavez Morado and Pablo O'Higgins in San Miguel, Mexico; Kuh at the Venice Biennale with friends and colleagues including Peggy Guggenheim, Frances Perkins, Daniel Catton Rich, and Harry Winston; and "The Pre-Depressionists" including Lorser Feitelson, Robert Inverarity, Helen Lundeberg, Arthur Millier, Myron Chester Nutting, and Muriel Tyler Nutting.

Photographs of exhibition installations and openings include views of the Katharine Kuh Gallery; Fernand Léger, Man Ray, and László Moholy-Nagy at the Art Institute of Chicago; and Philip Guston, Jimmy Ernst, Seymour H. Knox, Franz Kline, Robert Motherwell, and Mark Rothko at the Albright-Knox Art Gallery in Buffalo, New York. There are also photographs depicting three men posing as Léger's "Three Musicians" and the visit of Queen Elizabeth II to the Art Institute of Chicago. There is a photograph by Peter Pollack of an elk skull used as a model by Georgia O'Keeffe.

Additional photographs of friends and colleagues include Ivan Albright, Alfred Barr, Alexander Calder, Marc Chagall, Willem De Kooning, Edwin Dickinson, Marcel Duchamp, Claire Falkenstein, Alberto Giacometti, poet Robert Graves with Len Lye, Philip Johnson, Gyorgy and Juliet Kepes, Carlos Mérida, José Orozco, Hasan Ozbekhan, Pablo Picasso, Carl Sandberg, Ben Shahn, Otto Spaeth, Hedda Sterne, Adlai Stevenson, Clyfford Still, Mark Tobey, and composer Victor Young.

Photographs of artwork include totem poles in Alaska; work by various artists including Claire Falkenstein, Paul Klee, and Hedda Sterne; and work donated to the Guggenheim Museum.

Four audio recordings on cassette are of Katharine Kuh's lectures, including one about assembling corporate collections, and of Daniel Catton Rich reading his own poetry. There is also a recording of the Second Annual Dialogue between Broadcasters and Museum Educators.

Arrangement:

The collection is arranged as 9 series. Undated correspondence, artwork, and photographs of individual artists are arranged alphabetically. Otherwise, each series is arranged chronologically.

Missing Title

Series 1: Biographical Material, 1945-1992 (Box 1; 16 folders)

Series 2: Correspondence, 1908-1994 (Boxes 1-5, 13-14, OV 15; 4.0 linear feet)

Series 3: Personal Business Records, 1941-1989 (Box 5; 19 folders)

Series 4: Artwork, 1931-1986 (Boxes 5, 13-14, OVs 15-23; 1.7 linear feet)

Series 5: Notes and Writings, 1914-1994 (Boxes 5-7; 1.7 linear feet)

Series 6: Scrapbooks, 1935-1953 (Box 7; 8 folders)

Series 7: Printed Material, 1916-1992 (Boxes 7-10, 13, OV 22; 3.0 linear feet)

Series 8: Photographs, 1875-1993 (Boxes 10-13; 1.2 linear feet)

Series 9: Audio Recordings, 1977 (Box 12; 1 folder)

Biographical Note:

Katharine Kuh (1904-1994) worked primarily in the Chicago area as an modern art historian, dealer, critic, curator, writer, and consultant. She operated the Katharine Kuh Gallery from 1935-1943 and was the first woman curator of European and Art and Sculpture at the Art Institute of Chicago.

Katharine Kuh (née Woolf) was born on July 15, 1904 in St. Louis, Missouri, the youngest of the three daughters of Olga Weiner and Morris Woolf, a silk importer. In 1909, the family moved to Chicago, Illinois. While traveling with her family in Europe in 1914, Katharine contracted polio, causing her to spend the next decade in a body brace. During this time of restricted movement, she developed an interest in art history through the collecting of old master prints.

After her recovery, Katharine Woolf attended Vassar College where one of her professors, Alfred Barr, encouraged her to study modern art. She graduated from Vassar in 1925 and received a master's degree in art history from the University of Chicago in 1929. Later that year, she moved to New York to pursue a Ph.D. in Renaissance and medieval art at New York University.

In 1930, Katharine Woolf returned to Chicago and married businessman George Kuh and began to teach art history courses in the suburbs of Chicago. After divorcing George Kuh in 1935, she opened the Katharine Kuh Gallery, the first gallery devoted to avant-garde art in Chicago. It was also the first gallery to exhibit photography and typographical design as art forms, and featured the work of Ansel Adams, Josef Albers, Alexander Calder, Wassily Kandinsky, Fernand Léger, and Man Ray, among others. From 1938 to1940, Kuh was the Visiting Professor of Art at the University School of Fine Arts, San Miguel, Mexico.

After the Katharine Kuh Gallery closed in 1943, Kuh was hired by museum director Daniel Catton Rich to fill a position in public relations at the Art Institute of Chicago. During the following years, Kuh edited the museum's Quarterly publication, took charge of the museum's Gallery of Interpretive Art, and began a long term relationship with Rich. In 1946, Kuh was sent on a special mission for the U. S. Office of Indian Affairs to make a detailed study of Native American totemic carvings in Alaska.

In 1949, Kuh persuaded Mr. and Mrs. Walter Arensberg of Los Angeles to exhibit their collection of modern art, creating the first post-war exhibition of modern art in Chicago. She published her first book Art Has Many Faces in 1951, and in the following year, she began writing art criticism for The Saturday Review. In 1954, Kuh was appointed the first woman curator of European Art and Sculpture at the Art Institute. She assembled the American contribution for the Venice Biennale in 1956 and during these years, Kuh helped acquire many of the works of modern art currently in the museum's collection.

A year following Daniel Catton Rich's 1958 resignation from the Art Institute of Chicago, Kuh also resigned and pursued a career in New York as an art collection advisor, most notably for the First National Bank of Chicago. In 1959, Kuh was made art critic for The Saturday Review, and she continued to publish books, including The Artist's Voice in 1962, Break-Up: The Core of Modern Art in 1965, and The Open Eye: In Pursuit of Art in 1971.

Katharine Kuh died on January 10, 1994 in New York City.

Provenance:

The Katharine Kuh papers were donated in several installments from 1971 to 1989 by Katharine Kuh and in 1994 by her estate. Artwork was donated in 1995 by Kuh's former employer, the Art Institute of Chicago.

Restrictions:

Authorization to quote, publish or reproduce requires written permission until 2019. Contact the Archives of American Art Reference Services department for additional information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Authors -- Illinois -- Chicago  Search this

Art historians -- Illinois -- Chicago  Search this

Art dealers -- Illinois -- Chicago  Search this

Topic:

Art, Abstract -- United States  Search this

Art, American  Search this

Art, Modern -- 20th century -- United States  Search this

Women art dealers  Search this

Women art historians  Search this

Women museum curators  Search this

Women authors  Search this

Women art critics  Search this

Function:

Art festivals

Genre/Form:

Illustrated letters

Resumes

Travel diaries

Minutes

Calendars

Visitors' books

Photographs

Paintings

Awards

Drawings

Sound recordings

Collages

Scrapbooks

Lithographs

Prints

Wills

Watercolors

Poetry

Lecture notes

Lectures

Sales records

Citation:

Katharine Kuh papers, 1875-1994, bulk 1930-1994. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.kuhkath

See more items in:

Katharine Kuh papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw987a0763e-de6c-4f9e-b143-4875b3a2244a

EDAN-URL:

ead_collection:sova-aaa-kuhkath

Interviewee:

Baum, Don 1922-  Search this

Interviewer:

Prince, Sue Ann  Search this

Subject:

Cornell, Joseph  Search this

Golub, Leon 1922-2004  Search this

Ito, Miyoko 1918-1983  Search this

Moholy-Nagy, László 1895-1946  Search this

Spears, Ethel 1903-1974  Search this

Leaf, June 1929-  Search this

Abercrombie, Gertrude 1909-1977  Search this

Roosevelt University  Search this

Illinois Arts Council  Search this

Physical description:

Sound recording: 2 sound cassettes analog

Transcript: 108 pages

Type:

Interviews

Place:

Illinois

Chicago

United States

Date:

1991

1986 January 31-May 13

20th century

Topic:

Psychoanalysis and art  Search this

Art--Study and teaching  Search this

Sculpture, Modern  Search this

Sculptors  Search this

Assemblage (Art)  Search this

Local number:

AAA

AAA baum86

Restrictions & Rights:

Patrons must use transcript

Transcript available on the Archives of American Art website

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:siris_arc_214480

Creator:

Robert Schoelkopf Gallery  Search this

Subject:

Andrejevic, Milet 1925-  Search this

Aponovich, James 1948-  Search this

Bailey, William 1930-2020  Search this

Bell, Leland  Search this

Brassaï 1899-  Search this

Cameron, Julia Margaret Pattle 1815-1879  Search this

Cartier-Bresson, Henri 1908-  Search this

Cornell, Joseph  Search this

Dawson, Manierre 1887-1969  Search this

Driggs, Elsie 1898-1992  Search this

Erlebacher, Martha Mayer  Search this

Evans, Walker 1903-1975  Search this

Fiske, Gertrude 1878-1961  Search this

Freund, Gisèle  Search this

Horton, William S. 1865-1936  Search this

Ito, Miyoko 1918-1983  Search this

Lachaise, Gaston 1882-1935  Search this

Laderman, Gabriel 1929-  Search this

Ligare, David  Search this

Matthiasdottir, Louisa  Search this

Wiesenfeld, Paul  Search this

Matulka, Jan 1890-1972  Search this

Myers, Ethel  Search this

Nadelman, Elie 1882-1946  Search this

Stella, Joseph 1877-1946  Search this

Storrs, John Henry Bradley 1885-1956  Search this

Schoelkopf, Robert J. 1927-1991  Search this

Zabriskie Gallery  Search this

Physical description:

29.0 linear ft

Type:

Mixed archival materials

Collection descriptions

Date:

1851

1851-1991

bulk 1962-1991

20th century

Topic:

Realism in art  Search this

Photography, Artistic  Search this

Art, American  Search this

Art, Modern  Search this

Local number:

AAA

AAA robeschg

Restrictions & Rights:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center

See more items in:

Robert Schoelkopf Gallery records, 1851-1991 (bulk 1962-1991)

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:siris_arc_214859

Interviewee:

Drexler, Rosalyn  Search this

Interviewer:

Lyon, Christopher  Search this

Subject:

Alloway, Lawrence 1926-1990  Search this

Baraka, Amiri 1934-2014  Search this

Barthelme, Donald  Search this

Basquiat, Jean-Michel 1960-1988  Search this

Bruce, Lenny  Search this

Carmines, Al  Search this

Cornell, Joseph  Search this

De Kooning, Elaine  Search this

De Kooning, Willem 1904-1997  Search this

Dine, Jim 1935-  Search this

Doyle, Tom  Search this

Drexler, Sherman  Search this

Geldzahler, Henry  Search this

Gilman, Richard 1923-2006  Search this

Hess, Thomas B  Search this

Hesse, Eva 1936-1970  Search this

Hirshhorn, Joseph H  Search this

Karp, Ivan C. 1926-2012  Search this

Katz, Alex 1927-  Search this

Kent, Allegra  Search this

Klein, William  Search this

Kline, Franz 1910-1962  Search this

Kroll, Jack  Search this

Marx, Chico 1887-1961  Search this

Monroe, Marilyn 1926-1962  Search this

Neel, Alice 1900-1984  Search this

Newman, Barry  Search this

Perelman, S. J (Sidney Joseph) 1904-1979  Search this

Rosenberg, Harold 1906-1978  Search this

Samaras, Lucas 1936-  Search this

Sontag, Susan 1933-2004  Search this

Teer, Barbara Ann 1937-2008  Search this

Warhol, Andy 1928-1987  Search this

Youskevitch, Igor 1912-1994  Search this

Garth Greenan Gallery  Search this

Hunter College Students  Search this

Kornblee Gallery  Search this

Reuben Gallery  Search this

Physical description:

Transcript: 82 pages

Sound recording: 5 sound files (3 hr., 26 min.) digital, wav

Type:

Interviews

Sound recordings

Place:

New York (State)

New York

Date:

2017

2017-2017

2017 May 17-June 2

Topic:

African Americans--Segregation  Search this

Authors  Search this

Dance--Study and teaching  Search this

Dramatists  Search this

Happenings (Art)  Search this

Music--Instruction and study  Search this

Painters  Search this

Sculptors  Search this

Women artists  Search this

Women wrestlers  Search this

Wrestling  Search this

Local number:

aaa

AAA drexle17

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:siris_arc_389604

Creator:

Bultman, Fritz, 1919-1985  Search this

Names:

Boghosian, Varujan  Search this

Bultman, Jeanne  Search this

Cicero, Carmen, 1926-  Search this

Cornell, Joseph  Search this

Drexler, Sherman  Search this

Fromboluti, Sideo, 1921-  Search this

Graham, John, 1887-1961  Search this

Hofmann, Hans, 1880-1966  Search this

Hofmann, Maria, 1885-1963  Search this

Kees, Weldon, 1914-1955  Search this

Krasner, Lee, 1908-1984  Search this

Manso, Leo  Search this

Motherwell, Robert  Search this

Newman, Annette  Search this

Newman, Barnett, 1905-1970  Search this

Ossorio, Alfonso, 1916-1990  Search this

Ponsold, Renate  Search this

Reynal, Jeanne, 1903-  Search this

Rothschild, Judith  Search this

Sills, Thomas, 1914-  Search this

Simon, Sidney, 1917-1997  Search this

Smith, Tony, 1912-1980  Search this

Speyer, Nora  Search this

Tworkov, Jack  Search this

Vevers, Tony  Search this

Windham, Donald  Search this

Extent:

11.9 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Interviews

Paintings

Drawings

Sketches

Sketchbooks

Diaries

Date:

1928-2010, bulk 1940s-1990s

Summary:

The papers of New York School painter and sculptor Fritz Bultman, 1928-2010, bulk 1940s-1990s, measure 11.9 linear feet. They document Bultman's professional activities, ties to the Abstract Expressionist movement, and his personal life. Letters from friends and family include many from Hans and Maria Hofmann. Letters by Bultman are mostly to family; also found are a few drafts and copies of business and personal letters. Writings and notes are by and about Bultman. Notebooks/sketchbooks (39 volumes) include autobiographical writings, notes on dreams and thoughts while in psychoanalysis, many sketches and some completed drawings. Subject files reflect Bultman's professional activities, interests, and relationships; Hans Hofmann is the most thoroughly documented subject. Extensive printed material concerns Bultman's activities and exhibitions; also included are his published writings. Most photographs are of artwork, Bultman, his family and friends. Also found are biographical materials, 4 diaries, 6 interviews with Fritz Bultman and Jeanne Bultman, and a small amount of artwork.

Scope and Contents:

The papers of New York School painter and sculptor Fritz Bultlman, 1928-2010, bulk 1940s-1990s, measure 11.9 linear feet. They document Bultman's professional activities, ties to the Abstract Expressionist movement, and his personal life. Letters from friends and family include many from Hans and Maria Hofmann. Letters by Bultman are mostly to family; also found are a few drafts and copies of business and personal letters. Writings and notes are by and about Bultman. Notebooks/sketchbooks (39 volumes) include autobiographical writings, notes on dreams and thoughts while in psychoanalysis, many sketches and some completed drawings. Subject files reflect Bultman's professional activities, interests, and relationships. Extensive printed material concerns Bultman's activities and exhibitions; also included are his published writings. Most photographs are of artwork, Bultman, his family and friends. Also found are biographical materials, 4 diaries, 6 interviews with Fritz Bultman and Jeanne Bultman, and a small amount of artwork.

Biographical materials include school records and notice of Bultman's army classification.

Most letters are addressed to Fritz Bultman and his parents. Fritz's education in Munich and studying with Hans Hofmann is well-documented. Many letters are from Miz Hofmann and Hans Hofmann. Also found are a smaller number of letters from museums, galleries, universities, and arts organizations. The surviving letters by Bultman are mainly to his family. Most were written when he was a student in Munich or traveling in Europe. There are some drafts and copies of letters concerning professional activities, arrangements for lectures, exhibitions, and Cynthia Goodman's editing "Form and Color in the Creative Process: The Painter's Primer" by Hans Hofmann.

Most interviews focus on Bultman's career. An interview with Jeanne and Fritz Bultman is about John Graham, and one of the interviews with Jeanne Bultman concerns Hans Hofmann.

Bultman's writings and notes include articles, lectures and talks about Hans Hofman, lectures about his own work, and a book review. Among the writings about Bultman are articles, a catalog essay and exhibition review.

Notebooks/sketchbooks (39 volumes) contain a variety of writings and notes, including some that are autobiographical, along with sketches and several finished drawings. Some volumes consist of writings and notes with a few sketches and doodles while others are mainly sketchbooks containing a few stray notes and brief writings; many contain approximately the same amount of text and drawings.

Diaries (4 volumes) contain entries about his work, professional and personal activities. One volume is a record of his October 1978 trip to Istanbul.

Subject files contain varying combinations of correspondence, photographs, printed material, and manuscripts. The most extensive file relates to Hans Hofmann and includes copies of writings by him. Other files of note concern Joseph Cornell, the exhibitions "Forum '49" and "Forum '49 Revisited," Weldon Kees, Tony Smith, and Donald Windham.

The largest series, printed material, consists of exhibition catalogs, announcements, reviews, articles and clippings about or mentioning Bultman.

Noteworthy among the small amount of artwork by Bultman is an early print; also found are loose drawings and paintings on paper.

Photographs of artwork document the full range of Bultman's production --paintings, sculpture, drawings, collage, stained glass, interior design and decoration. Also found are a few photographs of works by other artists. Photographs of Fritz Bultman include many by Renate Ponsold. Other indentified individuals include parents Fred and Pauline Bultman, sister Muriel Bultman, childhood nurse Katie Belle, son Johann Bultman, Sherman Drexler, Hans Hofmann, Miz Hofmann, Miss Katsura, Lee Krasner, Annalee Newman, Barnett Newman, Alfonso Ossorio, Jeanne Reynal, Thomas Sills, Jack Tworkov, and Wally Tworkov. A group portrait of the artists of Long Point Gallery includes: Varujan Boghosian, Fritz Bultman, Carmen Cicero, Sideo Fromboluti, Budd Hopkins, Rick Klauber, Lee Manso, Sidney Simon, Robert Motherwell, Judith Rothschild, Nora Speyer, and Tony Vevers. Also found in this series are photographs of Bultman exhibition installations and views of miscellaneous places.

Arrangement:

The collection is arranged in 10 series:

Missing Title

Series 1: Biographical Materials,1928-2003 (Box 1; 0.1 linear feet)

Series 2: Letters, 1930-1995 (Box 1; 0.4 linear feet)

Series 3: Interviews, 1968-1998 (Box 1; 0.4 linear feet)

Series 4: Writings and Notes, 1935-circa 1980s (Boxes 1-2; 0.8 linear feet)

Series 5: Notebooks/Sketchbooks, 1937-circa 1979 (Boxes 2-3, 11; 0.7 linear feet)

Series 6: Diaries, 1977-1979 (Box 3; 0.3 linear feet)

Series 7: Subject Files, 1942-2010 (Boxes 3-5, 11; 2.3 linear feet)

Series 8: Printed Material, 1941-2006 (Boxes 5-9, OV 12; 3.5 linear feet)

Series 9: Artwork, circa 1930s-1956 (Boxes 9, 11; 0.1 linear feet)

Series 10: Photographs, 1935-1997 (Boxes 9-10; 0.6 linear feet)

Biographical / Historical:

Fritz Bultman (1919-1985), a New York School painter and sculptor who lived and worked in Provincetown, Massachusetts and New York City, was also a collagist, stained glass artist, and educator.

Anthony Fred Bultman, III --always known as Fritz --was from a prominent and cultured New Orleans family. He began studying art as a boy and one of his teachers was Morris Graves, a family friend. His last 2 years of high school were spent at the Munich Preparatory School, boarding with Mrs. Hans Hofmann whose husband was working in New York for an extended period. Bultman attended the New Bauhaus in Chicago before studying for three years with Hans Hofmann in New York City and Provincetown, Massachusetts. As well as being a major influence on Bultman's development as a painter, Hofmann became a life-long friend.

Fritz Bultman met dancer and model Jeanne Lawson (1918-2008), when she was posing in Hofmann's studio during the summer of 1941. They married in 1943 and the following year bought a house in Provincetown. In 1945, Bultman built a studio designed by a friend from the New Bauhaus, sculptor and architectural designer Tony Smith, who also helped with its construction.

His first solo exhibition was held in 1947 at the Hugo Gallery, New York; others followed in 1950, again at Hugo Gallery and at Kootz Gallery, New York. After receiving an Italian Government Grant for Exchange Fellowship, Bultman spent 1950-1951 in Florence, Italy, where he learned the process of casting and began making metal sculpture. In 1952 the Bultmans moved to New York City. Depressed and beset by anxiety, Bultman began Freudian psychoanalysis, and between 1952 and 1956 produced very little artwork.

In 1958 Bultman resumed exhibiting and continued to show regularly for the remainder of his life. He enjoyed solo exhibitions in New York City, Paris, New Orleans, North Carolina, Provincetown, and other venues. Between 1958 and 1963 Bultman taught painting at Hunter College and was an instructor in design and painting at Pratt Institute. Bultman spent 1964-1965 in Paris on a Fulbright Grant painting and sculpting, studying European methods of bronze casting, and meeting French artists. Bultman maintained his reputation as a highly regarded art instructor and in later years was a sought after guest lecturer at a various colleges. While artist-in-residence at Kalamazoo College, Michigan in 1981, he designed and produced a stained glass mural with technical assistance from his wife, Jeanne Bultman, a skilled artisan.

Fritz Bultman died of cancer in Provincetown, Massachusetts, in 1985.

Related Materials:

An oral history interview with Fritz Bultman, 1986 January 6, was conducted by Irving Sandler for the Archives of American Art (available on microfilm reel 3196).

Provenance:

Gift of Fritz Bultman in 1984, which included material lent for microfilming in 1970 and 1971. Additions donated by Jeanne Bultman, his widow, in 1988 and 2000, and by his sons, Anthony F. Bultman, IV and Ellis Johann Bultman, in 2013.

Restrictions:

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Sculptors -- New York (State) -- New York  Search this

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

New York school of art  Search this

Abstract expressionism  Search this

Genre/Form:

Photographs

Interviews

Paintings

Drawings

Sketches

Sketchbooks

Diaries

Citation:

Fritz Bultman papers, 1928-2010, bulk 1940s-1990s. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.bultfrit

See more items in:

Fritz Bultman papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94698b1c8-1885-4f89-93a0-52663a6492fe

EDAN-URL:

ead_collection:sova-aaa-bultfrit

Creator:

Ribicoff, Belle Krasne 1924-  Search this

Subject:

Albee, Edward 1928-  Search this

Bloom, Claire 1931-  Search this

De Vries, Peter 1910-1993  Search this

Foote, Horton  Search this

Lamos, Mark  Search this

Lebrun, Rico 1900-1964  Search this

Kazan, Elia  Search this

Parsons, Estelle  Search this

Ribicoff, Abraham 1910-1998  Search this

Shapiro, Karl Jay 1913-  Search this

Skinner, Cornelia Otis 1901-  Search this

Soby, James Thrall 1906-1979  Search this

Travers, P. L (Pamela Lyndon) 1899-1996  Search this

Arp, Jean 1887-1966  Search this

Ashton, Dore  Search this

Bazaine, Jean 1904-2001  Search this

Bailey, William 1930-2020  Search this

Benn, Ben 1884-  Search this

Chelimsky, Oscar  Search this

Cornell, Joseph  Search this

D'Harnoncourt, Rene 1901-1968  Search this

Dorazio, Virginia Dortch 1925-2010  Search this

Dorazio, Piero 1927-2005  Search this

Ferren, John 1905-1970  Search this

Fitzsimmons, James 1919-1985  Search this

Frankenthaler, Helen 1928-2011  Search this

Geist, Sidney  Search this

Gottlieb, Adolph 1903-1974  Search this

Graham, John 1887-1961  Search this

Greenberg, Clement 1909-1994  Search this

Greene, Balcomb 1904-1990  Search this

Holty, Carl 1900-1973  Search this

Kelly, Ellsworth 1923-  Search this

Krautheimer, Richard 1897-  Search this

Matisse, Pierre 1900-1989  Search this

Morris, George L. K. 1905-1975  Search this

Pearlstein, Philip 1924-  Search this

Richardson, Edgar Preston 1902-1985  Search this

Ritchie, Andrew Carnduff  Search this

Rosenborg, Ralph M. 1913-1992  Search this

Roszak, Theodore 1907-1981  Search this

Saarinen, Eero 1910-1961  Search this

Salpeter, Harry  Search this

Smith, David 1906-1965  Search this

Valentin, Curt 1902-1954  Search this

Van Doren, Mark 1894-1972  Search this

Yunkers, Adja 1900-1983  Search this

Storm King Art Center  Search this

Wadsworth Atheneum  Search this

Physical description:

1.5 linear feet

Type:

Mixed archival materials

Collection descriptions

Date:

1942

1942-2010

1942-circa 2010

bulk 1945-2004

Topic:

Art, American  Search this

Art--Collectors and collecting  Search this

Local number:

AAA

AAA krasbell2

Restrictions & Rights:

Letters from Jean Bazaine to Ribicoff and two drawings of Sarai Ribicoff by Wlliam Bailey are ACCESS RESTRICTED; written permission required. Contact Reference Services for more information

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center

See more items in:

Belle Krasne Ribicoff papers, 1942-circa 2010, bulk 1945-2004

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:siris_arc_279924

Creator:

Robert Schoelkopf Gallery  Search this

Names:

Zabriskie Gallery  Search this

Andrejevic, Milet, 1925-  Search this

Aponovich, James, 1948-  Search this

Bailey, William, 1930-2020  Search this

Bell, Leland  Search this

Brassaï, 1899-  Search this

Cameron, Julia Margaret Pattle, 1815-1879  Search this

Cartier-Bresson, Henri, 1908-  Search this

Cornell, Joseph  Search this

Dawson, Manierre, 1887-1969  Search this

Driggs, Elsie, 1898-1992  Search this

Erlebacher, Martha Mayer  Search this

Evans, Walker, 1903-1975  Search this

Fiske, Gertrude, 1878-1961  Search this

Freund, Gisèle  Search this

Horton, William S., 1865-1936  Search this

Ito, Miyoko, 1918-1983  Search this

Lachaise, Gaston, 1882-1935  Search this

Laderman, Gabriel, 1929-  Search this

Ligare, David  Search this

Matthiasdottir, Louisa  Search this

Matulka, Jan, 1890-1972  Search this

Myers, Ethel  Search this

Nadelman, Elie, 1882-1946  Search this

Schoelkopf, Robert J., 1927-1991  Search this

Stella, Joseph, 1877-1946  Search this

Storrs, John Henry Bradley, 1885-1956  Search this

Wiesenfeld, Paul  Search this

Extent:

29 Linear feet

Type:

Collection descriptions

Archival materials

Gallery records

Illustrated letters

Photographs

Date:

1851-1991

bulk 1962-1991

Summary:

The collection comprises 29 linear feet of records that document the day-to-day administration of the Robert Schoelkopf Gallery from 1962 to 1991, with additional items predating the founding of the gallery from 1851 to 1961. The collection records artist and client relations, exhibitions, and daily business transactions through artist files, correspondence, printed matter, and photographic material.

Scope and Content Note:

The records of the Robert Schoelkopf Gallery comprise 29 linear feet of material from 1851 to 1991, with some items predating the founding of the gallery. The bulk of the records date from 1962 to 1991, providing researchers with fairly comprehensive coverage of the gallery's development and operations from its inception in 1962 until its closure in 1991. Items dated prior to 1962 relate principally to the period of transition during which Robert Schoelkopf ended his partnership with the Zabriskie Gallery and established his own business. There are also some items relating to artists of the nineteenth and early twentieth century.

The collection consists primarily of artist files documenting relations with contemporary artists, representation of deceased artists, and other works of art handled by the gallery. It also chronicles the gallery's exhibition schedule and the day-to-day administration of the business. The types of material that can be found here include correspondence, exhibition inventories, price lists, accounting and consignment records, shipping and insurance records, printed material, and photographs.

The collection is a valuable source of information on twentieth-century American art history, focusing primarily on early-twentieth-century modernists as well as an important group of American realist painters and sculptors from the latter half of the century. The collection illuminates, in detail, the developing market for these schools and, in the case of the latter group, provides personal insights from artists on the realist perspective.

The records also document the Robert Schoelkopf Gallery's significant contribution to the resurgence of interest in fine art photography during the 1960s and 1970s as reflected in an increase in the value of works by important American photographers such as Walker Evans.

Much of the outgoing correspondence from the gallery consists of copies of letters written by Robert Schoelkopf, with additional business being handled by assistant staff and, from the mid-1970s, Schoelkopf's wife, Laura Jane Schoelkopf. The records offer insight into the personalities of the Schoelkopfs and how their congenial and candid management style influenced their relationships with the contemporary artists they represented.

Arrangement:

Originally the collection was organized as one large file arranged alphabetically by folder title, with titles ranging from names of artists to general subject headings such as "Correspondence." During processing it became clear that the gallery delineated operations into three main functions: artist relations, client-dealer relations, and exhibitions. Consequently the collection is arranged as three main series based on these areas of concern. A small group of miscellaneous photographs of artists constitutes an additional series at the end of the collection.

Originally paper records throughout the collection were generally arranged chronologically, although this order was not strictly adhered to. Frequently, correspondence and memoranda were attached to related records going back several years. To preserve the relationship between such documents, records stapled together in this way have been left together. They are arranged in reverse chronological order and filed in the folder corresponding to the primary date (i.e., the date of the first and most recent paper in the group). Researchers should be aware that date ranges provided on folders refer to the primary dates of documents contained therein and that some items in the folder may predate that range. Otherwise, the general chronological scheme has been retained throughout the collection, with undated material placed at the beginning of the appropriate file.

Printed material is arranged in chronological order, with undated material at the beginning of the folder, and may include press releases, exhibition announcements, exhibition catalogs, posters, clippings from newspapers, magazines, and journals, and other publicity material. Large amounts of printed material are broken down into several discrete folder units.

The most consistent labeling system for photographic material apparent throughout the collection was title of work of art. The majority of images are not dated with a printing date or the date that the work of art was produced, and although many of them have a processing number, these are by no means consistent and there are no master lists that can be used to interpret them. Consequently, images are arranged primarily by media type and then alphabetically by title. Untitled images are placed at the beginning of a media group; "the" in a title is ignored. Exceptions to this method are addressed in the appropriate series descriptions.

Files labeled "Photographs of Works of Art" will typically include any or all of the following: black-and-white copy prints, black-and-white transparencies, color transparencies, slide transparencies, Polaroid prints, color snapshots, contact sheets, and separation sheets. Often the same image will be duplicated in several different formats. Any notes on photographic material found in or on the original folder in which the material was filed have been preserved with the material or transcribed onto a sheet of acid-free paper that either encloses or is placed directly before the item to which the information applies.

The designation "General" indicates that a file may contain any or all of the types of material outlined above.

Missing Title

Series 1: Artist Files, 1851-1991, undated (Boxes 1-23; 23 linear ft.)

Series 2: General Business Files, 1960-1991, undated (Boxes 24-28; 4.74 linear ft.)

Series 3: Group Exhibition Files, 1960-1988, undated (Boxes 28-29; 1 linear ft.)

Series 4: Photographs of Artists, undated (Box 29; 0.25 linear ft.)

Historical Note:

Robert Schoelkopf, Jr., was born in Queens, New York, in 1927. He graduated from Yale College in 1951 with a bachelor of arts degree and then taught briefly at his alma mater while conducting graduate research in art history. Schoelkopf began his career in commercial art in 1957 as an independent dealer of American painting and sculpture and became a member of the Art Dealers Association of America in 1958. In 1959 he formed a partnership with Virginia Zabriskie, of the Zabriskie Gallery in New York, which lasted until 1962. The gallery exhibited late-nineteenth and early-twentieth-century American painting, together with contemporary painting of a somewhat conservative style.

In 1962 Schoelkopf signed a three-year lease for the fourth floor of a building at 825 Madison Avenue in New York, where he opened the Robert Schoelkopf Gallery. From the outset, Schoelkopf aimed to specialize in American painting of the nineteenth and twentieth century and sculpture of all schools. He predicted a burgeoning market for the Hudson River School in particular, believing that American painting was increasingly perceived as being worthy of serious attention. In a letter dated January 3, 1963, Schoelkopf congratulated John Spencer for his decision to collect nineteenth-century American paintings for the Allen Memorial Art Museum at Oberlin College, assuring him that "progressive chauvanism [ sic] will operate to elevate prices in American painting. Every year more colleges teach Art History, and soon they shall have reached the level of sophistication and development where they will be obliged (for face) to offer tuition in specifically American art - hitherto neglected of academicians.... I and many other dealers have plans for exhibitions of nineteenth-century American painting, especially the Hudson River School."

Schoelkopf's instincts regarding the Hudson River School were undoubtedly correct, and consequently nineteenth-century American painters formed a permanent mainstay of his inventory. He is perhaps remembered more, however, for his dedication to reviving interest in lesser-known American painters from the turn-of-the-century who were impressionist or modernist in style. Schoelkopf developed something of a reputation for unearthing forgotten talent that, while sometimes mediocre or inconsistent, was occasionally exceptional and certainly worthy of note. He was committed to reinstalling Joseph Stella in the pantheon of major American artists, representing Stella's estate from 1963 to 1971 and holding regular exhibitions of the artist's work from 1962 on. In 1969 the gallery held the first New York exhibition of the paintings of Manierre Dawson, who was subsequently acclaimed by the critics for his important and innovative contributions to modernism. In 1970 Schoelkopf began showing the work of Jan Matulka, an artist whose work had been neglected since the 1930s, and his enthusiastic representation of the Matulka estate paved the way for a retrospective at the Whitney Museum of American Art in 1979.

Schoelkopf's interest in turn-of-the-century artists also extended to sculptors such as John Flannagan, Ethel Myers, Elie Nadelman, and John Henry Bradley Storrs, and he directed considerable energy to furthering Gaston Lachaise's reputation as an artist of major stature. When Lachaise died at the peak of his career in 1935, his estate was left to his wife, Isabel, and in 1957 to Isabel's son, Edward. When Edward died shortly thereafter, John B. Pierce, Jr., a nephew of Isabel Lachaise, was appointed trustee of the estate and formed the Lachaise Foundation. In 1962 Pierce entered an agreement with Robert Schoelkopf and Felix Landau to represent Lachaise's sculpture on the East and West Coasts, respectively. In this capacity Schoelkopf helped to launch a major retrospective of the artist's work at the Whitney Museum of American Art in 1964 and a traveling exhibition that began circulating in 1967.

The gallery's other major commitment was to painting and sculpture by contemporary American realists, many of whom worked in a figurative style and explored elements of allegory and classical mythology in their work, presenting landscapes, still lifes, and portraits from a realist perspective. The bulk of the gallery's exhibitions were, in fact, of work by contemporary artists, including metaphysical still-life painter William Bailey, colorist Leland Bell, figurative painter Martha Mayer Erlebacher, landscape and narrative painter Gabriel Laderman, and Icelandic artist Louisa Matthiasdottir. William Bailey was one of the gallery's most commercially successful artists, and his first one-person exhibition in New York was held there in 1968. Demand for Bailey's paintings often far exceeded his output, and by the late 1970s Schoelkopf invariably sold out his exhibitions and had compiled a lengthy waiting list for his work.

In its early years the Robert Schoelkopf Gallery contributed considerably to the development of interest in fine art photography that fostered an increasingly lucrative market for photographic prints during the 1960s and 1970s. In 1965 Schoelkopf began incorporating photography into the gallery's exhibition schedule and, in the spring of 1974, opened a gallery dedicated to photography on the second floor at 825 Madison Avenue. Between 1965 and 1979 Schoelkopf's was the only serious New York gallery dealing in painting and sculpture that also regularly exhibited photography as fine art. His interests lay primarily in antiquarian photography and the work of nineteenth-century and twentieth-century masters including Eugéne Atget, Mathew Brady, James Robertson, and Carleton Watkins. Schoelkopf organized shows examining specific photographic processes, the photogravure and the cyanotype, and presented surveys of genres such as portrait and landscape photography. In 1967 he held the first exhibition in many years of the work of Julia Margaret Cameron, an important figure in the history of Victorian photography, timing it to coincide with a show at the Metropolitan Museum of Art that focused on Cameron as one of four Victorian photographers.

Schoelkopf also handled the work of several influential contemporaries, most notably Brassaï, Henri Cartier-Bresson, Walker Evans, and Gisèle Freund. The gallery held Freund's first exhibition in the United States in 1975 and was, for a time, the only place in New York where one could see and purchase prints by Cartier-Bresson. Schoelkopf began exhibiting Evans's work in 1966 and regularly thereafter, including a 1971 exhibition that coincided with a major retrospective at the Museum of Modern Art.

In the fall of 1976 the second-floor gallery space was turned over to Marcuse (Cusie) Pfeifer, then the gallery's director, who planned to use it to show the work of young photographers in a gallery under her own name. Schoelkopf continued to hold several photography exhibitions a year in the fourth-floor gallery but decided to concentrate primarily on nineteenth-century masters.

In March 1971 a fire in the building at Madison Avenue resulted in substantial water damage to the gallery space. Although very little of the inventory was destroyed, the incident forced Schoelkopf to close until September. This temporary loss of revenue compounded with a nationwide recession cut into Schoelkopf's financial resources and left him questioning his commission policy and his level of commitment to contemporary work in all media. A letter to artist Adolph Rosenblatt dated May 3, 1971, records how Schoelkopf had become increasingly disenchanted with "all contemporary work" and would begin taking 40 percent commission on sales, instead of 33.3 percent. "Beside the matter of enthusiasm is the matter of economics," Schoelkopf remarked, "and the last year and a half have been really dreadful for the art business."

This difficult period was followed immediately by more prosperous times. January 1973 proved to be the gallery's most successful month to date, encouraging Schoelkopf to purchase a house in Chappaqua, New York, later that year. In November 1974 Schoelkopf wrote to Anthony D'Offay that business "is as slow as it has ever been, but what sales we make are big ones" and revealed that auctions had, at that point, become his primary avenue for trade.

Around 1975 Schoelkopf's wife of eleven years, Laura Jane Schoelkopf, began working in the gallery. Although seemingly dubious of the work at first, she became a considerable asset to the business and reputedly complemented her husband's relationship with the gallery's contemporary artists through her warmth and hospitality, qualities often noted by artists who corresponded regularly with the couple.

The financial instability that characterized the 1970s undoubtedly influenced Schoelkopf's decision to cease exhibiting photography in 1979. By 1978 however, his investment in early-twentieth-century art appeared to be paying off. Jan Matulka, Joseph Stella, and John Henry Bradley Storrs had all been represented in exhibitions at major museums, and sales of their work had increased considerably. Gaston Lachaise's reputation continued to grow, and the traveling exhibition still circulated, garnering far more interest than had originally been anticipated.

Although contemporary artists continued to take up the largest portion of the gallery's changing exhibitions, Schoelkopf's interest in contemporary work was growing more conservative, tending toward a narrower focus on the narrative and allegorical. By 1979 he no longer exhibited contemporary sculpture, admitting to a lack of enthusiasm for the work of any of the current figurative sculptors and a dislike of all contemporary abstract work. In a letter to Lillian Delevoryas, dated March 17, 1982, he confessed, "With age has come a hardening of the aesthetic arteries perhaps. What we have been showing is realism, but getting tighter all the time."

In April 1984 the gallery was moved to 50 West Fifty-seventh Street, and, during the years that followed, the Schoelkopfs pared down the number of contemporary artists they represented, handling only those to whom they felt most strongly committed while continuing to specialize in nineteenth-century and early-twentieth-century American painting and sculpture. As the gallery approached its thirtieth anniversary, Schoelkopf's achievements were considerable. He had operated a successful New York gallery for almost three decades, rejuvenated the reputations of several important American artists, and was respected by artists and clients alike for the integrity, intelligence, and humor with which he conducted his business affairs. In 1987 he had been appointed to the board of trustees of the Williamstown Regional Art Conservation Laboratory. By this time he was also a member of the advisory board to the National Academy of Design, and in 1988 he became a co-trustee of the Joseph and Robert Cornell Memorial Foundation.

In March 1990, Robert Schoelkopf was diagnosed with leukemia and underwent a regimen of cancer treatment that resulted in a brief remission by the summer. Schoelkopf returned to work temporarily, but by 1991 his condition had worsened and he died in April of that year. Having known for some time that her husband's prognosis was poor, Laura Jane Schoelkopf had apparently decided that she would not continue the gallery in the event of his death. With the help of the youngest of their two sons, Andrew, she settled final accounts and assisted the gallery's contemporary artists in finding representation elsewhere before closing the business in August 1991.

Provenance:

Twenty-seven linear feet of records were donated to the Archives of American Art by Laura Jane Schoelkopf, Robert Schoelkopf's widow, and the Coe Kerr Gallery in 1991 and 1992. An additional gift of 3.4 linear feet was donated by Laura Jane Schoelkopf in 1996. The collection was reduced slightly during processing.

Restrictions:

The collection is open for research. Use requires an appointment.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Art, Modern -- 20th century  Search this

Works of art  Search this

Photography, Artistic  Search this

Realism  Search this

Art, American  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Gallery records

Illustrated letters

Photographs

Citation:

Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Foundation.

Identifier:

AAA.robeschg

See more items in:

Robert Schoelkopf Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9773faf46-baaa-4d12-8e4f-cc58adc2787a

EDAN-URL:

ead_collection:sova-aaa-robeschg

Interviewee:

Adrian, Dennis, 1937-  Search this

Interviewer:

Silverman, Lanny  Search this

Names:

Akron Art Museum  Search this

Art Institute of Chicago  Search this

Chicago Art and Artists: Oral History Project  Search this

Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this

Madison Art Center  Search this

Museum of Contemporary Art (Chicago, Ill.)  Search this

New York University  Search this

Portland Art Museum (Or.)  Search this

University of Chicago -- Students  Search this

Acconci, Vito, 1940-  Search this

Achilles, Rolf  Search this

Alloway, Lawrence, 1926-1990  Search this

Anderson, Jeremy, 1921-1982  Search this

Artner, Alan G.  Search this

Barnes, Robert, 1934-  Search this

Baum, Don, 1922-  Search this

Botticelli, Sandro, 1444 or 1445-1510  Search this

Brown, Roger, 1941-1997  Search this

Carlson, Victor I.  Search this

Castelli, Leo  Search this

Conner, Bruce, 1933-2008  Search this

Coplans, John  Search this

Cornell, Joseph  Search this

Dubuffet  Search this

Florsheim, Lillian H.  Search this

Frumkin, Allan  Search this

Garver, Thomas H.  Search this

Golub, Leon, 1922-2004  Search this

Guston, Philip, 1913-1980  Search this

Hanson, Philip, 1943-  Search this

Hoffman, Rhona, 1934-  Search this

Ito, Miyoko, 1918-1983  Search this

Kind, Phyllis, 1933-2018  Search this

Leaf, June, 1929-  Search this

Lee, Sherman E.  Search this

Maxon, John, 1916-  Search this

Mies van der Rohe, Ludwig, 1886-1969  Search this

Newman, Muriel Kallis Steinberg  Search this

Nicholson, Natasha, 1945-  Search this

Parker, Dorothy, 1893-1967  Search this

Pearlstein, Philip, 1924-  Search this

Petlin, Irving, 1934-2018  Search this

Ramberg, Christina  Search this

Rossi, Barbara, 1940-  Search this

Schulze, Franz, 1927-2019  Search this

Sleigh, Sylvia  Search this

Spero, Nancy, 1926-2009  Search this

Swinton, Tilda  Search this

Voulkos, Peter, 1924-2002  Search this

Warhol, Andy, 1928-1987  Search this

Westermann, H. C. (Horace Clifford), 1922-  Search this

Wilde, Oscar, 1854-1900  Search this

Wiles, Bertha Harris, 1896-  Search this

Extent:

4 Items (Sound recording: 4 sound files (4 hr., 18 min.), digital, wav)

173 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

2015 October 8-9

Scope and Contents:

An interview with Dennis Adrian conducted 2015 October 8-9, by Lanny Silverman, for the Archives of American Art's Chicago Art and Artists: Oral History Project, at Adrian's home in Seaside, Oregon.

Adrian speaks of growing up in Astoria; traveling to Chicago and New York; Cannon Beach; aging and getting older; his origins; curators and curating; visual sensibilities; the Portland Public Library; opera; his parents, grandparents, and family; Finnish sensibility and humor; Portland Art Museum and classes for children; curator as voyeur; credit and accomplishments; hands on experiences; Artforum; art history; attending University of Chicago; homosexuality and coming out; looted European masterworks; Botticelli; exposure to real art; connoisseurship; collectors and collecting; a Robert Louis Stevenson letter; violin making; growing into yourself; Chicago; war; New York University; Frumkin Gallery; New York; the art world; Madison Art Center; Akron Art Museum; friendship and role models; Art Institute of Chicago; meeting Mies van der Rohe; meeting idols; education; Oscar Wilde and Dorothy Parker; Museum of Contemporary Art, Chicago; Monster Roster; traveling; Chicago art politics; writing and critics; Eurocentric curators; Chicago as an undervalued city; Dog Day Afternoon; discovering art; New York sightings; and experiences running into artists. Adrian also recalls Roger Brown, Ruth Horwich, Gilda Buchbinder, Don Baum, Sherman Lee, Victor Carlson, Peter Voulkos, Lawrence Alloway, Rhona Hoffman, Allan Frumkin, June Leaf, Leon Golub, Jeremy Anderson, Robert Barnes, Tom Garver, Bruce Conner, Natasha Nicholson, H. C. Westermann, Franz Schulze, Bertha Harris Wiles, Muriel Newman, Aaron James Spire, Lillian Florsheim, John Maxon, Greg Knight, P.B. Maryan, Philip Pearlstein, Sylvia Sleigh, Nancy Spero, Irving Petlin, John Coplans, Alan Artner, Alice Shaddle, Phyllis Kind, Andy Warhol, Joseph Cornell, Tilda Swinton, Leo Castelli, Philip Guston, Dubuffet, Pussy Pepke, Bumpy Rogers, Barbara Rossi, Christina Ramberg, Philip Hanson, Miyoko Ito, Mark Jackson, Rolf Achilles, and Vito Acconci.

Biographical / Historical:

Dennis Adrian (1937- ) is an art critic, educator, and curator in Chicago, Illinois. Lanny Silverman (1947- ) is a curator at the Chicago Cultural Center in Chicago, Illinois.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Occupation:

Art critics -- Illinois -- Chicago -- Interviews  Search this

Topic:

Art, American -- Illinois -- Chicago  Search this

Art -- Collectors and collecting  Search this

Art -- History  Search this

Art -- Study and teaching  Search this

Art thefts -- Europe  Search this

Curators -- Illinois -- Chicago -- Interviews  Search this

Educators -- Illinois -- Chicago -- Interviews  Search this

Genre/Form:

Interviews

Sound recordings

Sponsor:

Funding for this interview was provided by the Terra Foundation for American Art.

Identifier:

AAA.adrian15

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a4b4e01e-5985-41e2-9eac-996bf9e8d51e

EDAN-URL:

ead_collection:sova-aaa-adrian15

Interviewee:

Baum, Don, 1922-  Search this

Interviewer:

Prince, Sue Ann  Search this

Names:

Illinois Arts Council  Search this

Roosevelt University  Search this

Abercrombie, Gertrude, 1909-1977  Search this

Cornell, Joseph  Search this

Golub, Leon, 1922-2004  Search this

Ito, Miyoko, 1918-1983  Search this

Leaf, June, 1929-  Search this

Moholy-Nagy, László, 1895-1946  Search this

Spears, Ethel, 1903-1974  Search this

Extent:

2 Sound cassettes (Sound recording, analog)

108 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Sound cassettes

Pages

Interviews

Date:

1986 January 31-May 13

Scope and Contents:

An interview of Don Baum conducted 1986 January 31 and May 13, by Sue Ann Kendall, for the Archives of American Art, in Chicago, Illinois.

Baum speaks about his childhood in Michigan; interests during his college years at Michigan State; classes at the School of the Art Institute of Chicago; friendship with artists such as Miyoko Ito and Ethel Spears; the Institute of Design and Laszlo Moholy-Nagy; faculty and classes at the University of Chicago; jam sessions at Gertrude Abercrombie's home; teaching at Roosevelt University; the influence of travel; June Leaf; Leon Golub; psychoanalysis and its influence on his work; collage; The Hyde Park Art Center; objects with a magical aura; writing and writers; dolls; the relationship of self to art; outsider art; transformation; Joseph Cornell; the Hairy Who artists; collectors; the Museum of Contemporary Art; the Illinois Arts Council; Chicago art and artists; and travel in Indonesia.

Biographical / Historical:

Don Baum (1922-2008) was a sculptor, assemblage artist, curator, and educator from Chicago, Illinois.

General:

Originally recorded on 2 sound cassettes. Reformatted in 2010 as 12 digital wav files. Duration is 5 hr., 23 min.

Provenance:

This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.

Restrictions:

Patrons must use transcript.

Transcript available on the Archives of American Art website.

Topic:

Psychoanalysis and art  Search this

Art -- Study and teaching -- Illinois -- Chicago  Search this

Sculpture, Modern -- 20th century -- United States  Search this

Sculptors -- Illinois -- Chicago -- Interviews  Search this

Assemblage (Art)  Search this

Function:

Art Schools -- Illinois -- Chicago

Genre/Form:

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.baum86

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92ba7721e-824e-4e07-8e13-b3c15587ea48

EDAN-URL:

ead_collection:sova-aaa-baum86

Interviewee:

Drexler, Rosalyn  Search this

Interviewer:

Lyon, Christopher  Search this

Names:

Garth Greenan Gallery  Search this

Hunter College -- Students  Search this

Kornblee Gallery  Search this

Reuben Gallery  Search this

Alloway, Lawrence, 1926-1990  Search this

Baraka, Amiri, 1934-2014  Search this

Barthelme, Donald  Search this

Basquiat, Jean-Michel, 1960-1988  Search this

Bruce, Lenny  Search this

Carmines, Al  Search this

Cornell, Joseph  Search this

De Kooning, Elaine  Search this

De Kooning, Willem, 1904-1997  Search this

Dine, Jim, 1935-  Search this

Doyle, Tom  Search this

Drexler, Sherman  Search this

Geldzahler, Henry  Search this

Gilman, Richard, 1923-2006  Search this

Hess, Thomas B.  Search this

Hesse, Eva, 1936-1970  Search this

Hirshhorn, Joseph H.  Search this

Karp, Ivan C., 1926-2012  Search this

Katz, Alex, 1927-  Search this

Kent, Allegra  Search this

Klein, William  Search this

Kline, Franz, 1910-1962  Search this

Kroll, Jack  Search this

Marx, Chico, 1887-1961  Search this

Monroe, Marilyn, 1926-1962  Search this

Neel, Alice, 1900-1984  Search this

Newman, Barry  Search this

Perelman, S. J. (Sidney Joseph), 1904-1979  Search this

Rosenberg, Harold, 1906-1978  Search this

Samaras, Lucas, 1936-  Search this

Sontag, Susan, 1933-2004  Search this

Teer, Barbara Ann, 1937-2008  Search this

Warhol, Andy, 1928-1987  Search this

Youskevitch, Igor, 1912-1994  Search this

Extent:

82 Pages (Transcript)

5 Items (Sound recording: 5 sound files (3 hr., 26 min.), digital, wav)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

2017 May 17-June 2

Scope and Contents:

An interview with Rosalyn Drexler conducted 2017 May 17 and June 2 by Christopher Lyon, for the Archives of American Art, at Garth Greenan Gallery in New York, New York.

Drexler discusses her childhood in the Bronx; her experiences studying dance and music; her higher education at Hunter College; attending films and the Yiddish Theater; meeting her husband Sherman Drexler; her time as a professional wrestler; her memories of traveling to the South and encountering Jim Crow segregation; she describes learning about art from Sherman Drexler and her joint exhibition with Sherman; her early work in sculpture; participating in Happenings with Jim Dine; joining Anita Reuben's gallery; her debut as a playwright; her experience writing "I am the Beautiful Stranger;" the changing public perception of her and being classified as an artist; her decision to become a painter and appropriating images for her work; the influence of S. J. Perelman on her plays; her play about Joseph Cornell and ballerina Allegra Kent, and interviewing Allegra Kent; her recent artwork and preparing for her 2017 show at Garth Greenan Gallery; her artwork from the 1980s and 1990s; her comedy writing and sense of humor. Drexler also recalls Chico Marx, Jack Newfield, Igor Youskevitch, Ivan Karp, Anita Reuben, Lucas Samaras, Richard Gilman, Al Carmines, Amiri Baraka, Barbara Ann Teer, Franz Kline, Elaine De Kooning, Bill de Kooning, Andy Warhol, Jack Kroll, Lawrence Alloway, Tom Hess, Barney Newman, Harold Rosenberg, Susan Sontag, Joe Hirshhorn, Henry Geldzahler, Donald Barthelme, Kornblee Gallery, Eva Hesse, Tom Doyle, William Klein, Marilyn Monroe, Alex Katz, Alice Neel, Basquiat, Saturday Night Live, and Lenny Bruce, among others.

Biographical / Historical:

Rosalyn Drexler (1926- ) is a sculptor, playwright, and novelist in New York, New York. Christopher Lyon (1949- ) is a writer in Brooklyn, New York.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Occupation:

Authors -- New York (State) -- New York  Search this

Playwrights -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Sculptors -- New York (State) -- New York  Search this

Topic:

Women wrestlers  Search this

Wrestling  Search this

Segregation -- United States  Search this

Women artists  Search this

Women sculptors  Search this

Women painters  Search this

Happenings (Art)  Search this

Genre/Form:

Interviews

Sound recordings

Sponsor:

Funding for this interview was provided by the Pollock-Krasner Foundation.

Identifier:

AAA.drexle17

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90bfba5d5-5e75-43b8-a9a5-bfc6e1c0120e

EDAN-URL:

ead_collection:sova-aaa-drexle17

Creator:

Bergman, Edwin, 1917-1986  Search this

Bergman, Lindy, 1918-2014  Search this

Bergman, Edwin, 1917-1986  Search this

Subject:

Cornell, Joseph  Search this

Levy, Julien  Search this

Nutt, Jim  Search this

Lam, Wifredo  Search this

Toumanova, Tamara  Search this

Type:

Interviews

Video recordings

Topic:

Art -- Collectors and collecting  Search this

Theme:

Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this

Record number:

(DSI-AAA_CollID)17355

(DSI-AAA_SIRISBib)380894

AAA_collcode_bergedlin

Theme:

Chicago's Art-Related Archival Materials: A Terra Foundation Resource

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_380894

Creator:

Jordan, Patricia M. 1937-1989  Search this

Subject:

Anger, Kenneth  Search this

Beattie, Paul 1926-  Search this

Berman, Wallace 1926-1976  Search this

Brakhage, Stan  Search this

Duncan, Robert Edward 1919-  Search this

Herms, George 1935-  Search this

Snyder, Gary 1930-  Search this

Cornell, Joseph  Search this

Jess 1923-  Search this

Jordan, Larry 1934-  Search this

Physical description:

2.4 linear feet

Type:

Mixed archival materials

Collection descriptions

Place:

California

San Francisco

Date:

1870

1984

1870, 1949-1984

Topic:

Beat generation  Search this

Women artists  Search this

Local number:

AAA

AAA jordpatr

Restrictions & Rights:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center

See more items in:

Patricia Jordan papers, 1870, 1949-1984

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:siris_arc_213221

Creator:

Jordan, Patricia M., 1937-1989  Search this

Names:

Anger, Kenneth  Search this

Beattie, Paul, 1924-1988  Search this

Berman, Wallace, 1926-1976  Search this

Brakhage, Stan  Search this

Cornell, Joseph  Search this

Duncan, Robert Edward, 1919-  Search this

Herms, George, 1935-  Search this

Jess, 1923-  Search this

Jordan, Larry, 1934-  Search this

Snyder, Gary, 1930-  Search this

Extent:

2.4 Linear feet

Type:

Collection descriptions

Archival materials

Illustrated letters

Mail art

Photographs

Date:

1870

1949-1984

Summary:

The papers of San Francisco based Beat photographer Patricia Jordan measure 2.3 linear feet and date from 1870, 1949-1984. The papers include correspondence, much of it illustrated and with Beat artists and poets, writings, exhibition files, printed materials, photographs, and artwork.

Scope and Contents:

The papers of San Francisco based Beat photographer Patricia Jordan measure 2.3 linear feet and date from 1870, 1949-1984. The papers include correspondence, much of it illustrated and with Beat artists and poets, writings, exhibition files, printed materials, photographs, and artwork.

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

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

The remainder of the collection is comprised of scattered writings, exhibition files, printed material, and artwork.

Arrangement:

The collection is arranged as 6 series

Missing Title

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

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

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

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

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

Series 6: Artwork, 1949-circa 1970s (0.2 linear feet; Box 2-3)

Biographical / Historical:

Patricia Jordan (1937-1988) was a photographer and integral part of the Beat circle in San Francisco during the late 1950s and 1960s. Through her photography, she captured intimate portraits of the artists and poets in San Francisco at that time. Patricia Jordan, née Topalian, married Larry Jordan, assemblagist and avant-garde filmmaker, in the late 1950s. They lived in San Francisco, Larkspur, and finally settled in San Anselmo, California. Patricia and Larry Jordan had one daughter, Lorna, born in 1960.

Provenance:

Patricia Jordan donated her papers to the Archives of American Art in 1988.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Photographers -- California -- San Francisco  Search this

Topic:

Beat generation  Search this

Women artists  Search this

Women photographers  Search this

Genre/Form:

Illustrated letters

Mail art

Photographs

Citation:

Patricia Jordan papers, 1870, 1949-1984. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.jordpatr

See more items in:

Patricia Jordan papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw985cd4ab0-f55c-4702-bec8-2a3579f6ebd4

EDAN-URL:

ead_collection:sova-aaa-jordpatr

Interviewee:

Adrian, Dennis 1937-  Search this

Interviewer:

Silverman, Lanny  Search this

Subject:

Acconci, Vito 1940-  Search this

Achilles, Rolf  Search this

Alloway, Lawrence 1926-1990  Search this

Anderson, Jeremy 1921-  Search this

Artner, Alan G  Search this

Barnes, Robert 1934-  Search this

Baum, Don 1922-  Search this

Botticelli, Sandro 1444 or 1445-1510  Search this

Brown, Roger 1941-1997  Search this

Carlson, Victor I  Search this

Castelli, Leo  Search this

Conner, Bruce 1933-2008  Search this

Coplans, John  Search this

Cornell, Joseph  Search this

Dubuffet  Search this

Florsheim, Lillian H  Search this

Frumkin, Allan  Search this

Garver, Thomas H  Search this

Golub, Leon 1922-2004  Search this

Guston, Philip 1913-1980  Search this

Hanson, Philip 1943-  Search this

Hoffman, Rhona 1934-  Search this

Ito, Miyoko 1918-1983  Search this

Kind, Phyllis 1933-2018  Search this

Leaf, June 1929-  Search this

Lee, Sherman E  Search this

Maxon, John 1916-  Search this

Mies van der Rohe, Ludwig 1886-1969  Search this

Newman, Muriel Kallis Steinberg  Search this

Nicholson, Natasha 1945-  Search this

Parker, Dorothy 1893-1967  Search this

Pearlstein, Philip 1924-  Search this

Petlin, Irving 1934-2018  Search this

Ramberg, Christina  Search this

Rossi, Barbara 1940-  Search this

Schulze, Franz 1927-2019  Search this

Sleigh, Sylvia  Search this

Spero, Nancy 1926-2009  Search this

Swinton, Tilda  Search this

Voulkos, Peter 1924-2002  Search this

Warhol, Andy 1928-1987  Search this

Westermann, H. C (Horace Clifford) 1922-  Search this

Wilde, Oscar 1854-1900  Search this

Wiles, Bertha Harris 1896-  Search this

Akron Art Museum  Search this

Art Institute of Chicago  Search this

Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this

Chicago Art and Artists: Oral History Project  Search this

Madison Art Center  Search this

Museum of Contemporary Art (Chicago, Ill.)  Search this

New York University  Search this

Portland Art Museum (Or.)  Search this

University of Chicago Students  Search this

Physical description:

Sound recording: 4 sound files (4 hr., 18 min.) digital, wav

Transcript: 173 pages

Type:

Interviews

Sound recordings

Place:

Illinois

Chicago

Europe

Date:

2015

2015-2015

2015 October 8-9

Topic:

Art, American  Search this

Art--Collectors and collecting  Search this

Art critics  Search this

Art--History  Search this

Art--Study and teaching  Search this

Art thefts  Search this

Curators  Search this

Educators  Search this

Homosexuality  Search this

Local number:

aaa

AAA adrian15

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:siris_arc_380479