Search Results

Culture/People:

Kwakwaka'wakw (Kwakiutl)  Search this

Previous owner:

Fred Harvey Company (Fred Harvey Indian Department), 1876-1966  Search this

Seller:

Fred Harvey Company (Fred Harvey Indian Department), 1876-1966  Search this

Object Name:

Shaman's figure (Image withheld)

Media/Materials:

Wood, cotton canvas, paint, cedar bark, abalone/haliotis shell, twine/string

Techniques:

Carved, painted, stuffed

Dimensions:

27.4 x 9.5 cm

Object Type:

Ceremonial/Ritual items: Shamanic objects

Place:

British Columbia; Canada

Date created:

1800-1900

Catalog Number:

8/1597

Barcode:

081597.000

See related items:

Kwakwaka'wakw (Kwakiutl)

Ceremonial/Ritual items: Shamanic objects

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws6fad7d97a-944f-4e74-89c5-489e46aace25

EDAN-URL:

edanmdm:NMAI_87757

Culture/People:

Hopi Pueblo  Search this

Collector:

Frederick W. Volz (Frederick William Volz), Non-Indian, 1856-1913  Search this

Previous owner:

Frederick W. Volz (Frederick William Volz), Non-Indian, 1856-1913  Search this

Fred Harvey Company (Fred Harvey Indian Department), 1876-1966  Search this

Seller:

Fred Harvey Company (Fred Harvey Indian Department), 1876-1966  Search this

Object Name:

Ankle band/ornament (Image withheld)

Media/Materials:

Cotton canvas, wool yarn, hide thong/babiche

Techniques:

Sewn, wrapped

Object Type:

Ceremonial/Ritual items

Place:

Orayvi (Oraibi), Third Mesa, Hopi Reservation; Navajo County; Arizona; USA

Catalog Number:

9/554

Barcode:

090554.000

See related items:

Hopi Pueblo

Ceremonial/Ritual items

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws65582c2bd-073e-485e-87cc-fd02e35de303

EDAN-URL:

edanmdm:NMAI_97633

Culture/People:

Hopi Pueblo  Search this

Collector:

Frederick W. Volz (Frederick William Volz), Non-Indian, 1856-1913  Search this

Previous owner:

Frederick W. Volz (Frederick William Volz), Non-Indian, 1856-1913  Search this

Fred Harvey Company (Fred Harvey Indian Department), 1876-1966  Search this

Seller:

Fred Harvey Company (Fred Harvey Indian Department), 1876-1966  Search this

Object Name:

Ankle band/ornament (Image withheld)

Media/Materials:

Cotton canvas, wool yarn, hide thong/babiche

Techniques:

Sewn, wrapped, laced

Object Type:

Ceremonial/Ritual items

Place:

Orayvi (Oraibi), Third Mesa, Hopi Reservation; Navajo County; Arizona; USA

Catalog Number:

9/555

Barcode:

090555.000

See related items:

Hopi Pueblo

Ceremonial/Ritual items

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws69e06c857-17ee-498c-b58b-3886c92bfdc6

EDAN-URL:

edanmdm:NMAI_97634

Culture/People:

Hopi Pueblo  Search this

Collector:

Frederick W. Volz (Frederick William Volz), Non-Indian, 1856-1913  Search this

Previous owner:

Frederick W. Volz (Frederick William Volz), Non-Indian, 1856-1913  Search this

Fred Harvey Company (Fred Harvey Indian Department), 1876-1966  Search this

Seller:

Fred Harvey Company (Fred Harvey Indian Department), 1876-1966  Search this

Object Name:

Ankle band/ornament (Image withheld)

Media/Materials:

Cotton canvas, wool yarn, hide, hide thong/babiche

Techniques:

Sewn, wrapped, painted, fringed

Object Type:

Ceremonial/Ritual items

Place:

Orayvi (Oraibi), Third Mesa, Hopi Reservation; Navajo County; Arizona; USA

Catalog Number:

9/558

Barcode:

090558.000

See related items:

Hopi Pueblo

Ceremonial/Ritual items

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws6fc26e44a-4af8-4ce4-89ea-2983a7d08455

EDAN-URL:

edanmdm:NMAI_97637

Culture/People:

Hopi Pueblo  Search this

Collector:

Frederick W. Volz (Frederick William Volz), Non-Indian, 1856-1913  Search this

Previous owner:

Frederick W. Volz (Frederick William Volz), Non-Indian, 1856-1913  Search this

Fred Harvey Company (Fred Harvey Indian Department), 1876-1966  Search this

Seller:

Fred Harvey Company (Fred Harvey Indian Department), 1876-1966  Search this

Object Name:

Ankle band/ornament (Image withheld)

Media/Materials:

Cotton canvas, wool yarn, hide thong/babiche

Techniques:

Sewn, wrapped

Object Type:

Ceremonial/Ritual items

Place:

Orayvi (Oraibi), Third Mesa, Hopi Reservation; Navajo County; Arizona; USA

Catalog Number:

9/559

Barcode:

090559.000

See related items:

Hopi Pueblo

Ceremonial/Ritual items

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws617add0cf-7714-4bc1-9ef3-033d6ad4c7d9

EDAN-URL:

edanmdm:NMAI_97638

Culture/People:

Hopi Pueblo  Search this

Collector:

Frederick W. Volz (Frederick William Volz), Non-Indian, 1856-1913  Search this

Previous owner:

Frederick W. Volz (Frederick William Volz), Non-Indian, 1856-1913  Search this

Fred Harvey Company (Fred Harvey Indian Department), 1876-1966  Search this

Seller:

Fred Harvey Company (Fred Harvey Indian Department), 1876-1966  Search this

Object Name:

Ankle band/ornament (Image withheld)

Media/Materials:

Cotton canvas, wool yarn, hide thong/babiche

Techniques:

Sewn, wrapped, tied

Object Type:

Ceremonial/Ritual items

Place:

Orayvi (Oraibi), Third Mesa, Hopi Reservation; Navajo County; Arizona; USA

Catalog Number:

9/560

Barcode:

090560.000

See related items:

Hopi Pueblo

Ceremonial/Ritual items

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws64bd9f00b-ef41-41ec-8d6f-a758476768b1

EDAN-URL:

edanmdm:NMAI_97639

Culture/People:

Hopi Pueblo  Search this

Collector:

Henry R. Voth (Heinrich Richert Voth/H. R. Voth), Non-Indian, 1855-1931  Search this

Previous owner:

Henry R. Voth (Heinrich Richert Voth/H. R. Voth), Non-Indian, 1855-1931  Search this

Fred Harvey Company (Fred Harvey Indian Department), 1876-1966  Search this

Seller:

Fred Harvey Company (Fred Harvey Indian Department), 1876-1966  Search this

Object Name:

Ankle band/ornament (Image withheld)

Media/Materials:

Cotton canvas, wool yarn, hide thong/babiche

Techniques:

Sewn, wrapped

Object Type:

Ceremonial/Ritual items

Place:

Orayvi (Oraibi), Third Mesa, Hopi Reservation; Navajo County; Arizona; USA

Catalog Number:

9/563

Barcode:

090563.000

See related items:

Hopi Pueblo

Ceremonial/Ritual items

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws602f8c19f-da19-4420-ab25-f624a04a05ce

EDAN-URL:

edanmdm:NMAI_97642

Culture/People:

Hopi Pueblo  Search this

Collector:

Henry R. Voth (Heinrich Richert Voth/H. R. Voth), Non-Indian, 1855-1931  Search this

Previous owner:

Henry R. Voth (Heinrich Richert Voth/H. R. Voth), Non-Indian, 1855-1931  Search this

Fred Harvey Company (Fred Harvey Indian Department), 1876-1966  Search this

Seller:

Fred Harvey Company (Fred Harvey Indian Department), 1876-1966  Search this

Object Name:

Ankle band/ornament (Image withheld)

Media/Materials:

Cotton canvas, wool yarn, hide thong/babiche

Techniques:

Sewn, wrapped

Dimensions:

76.50 x 10.50 x 0.50 cm

Object Type:

Ceremonial/Ritual items

Place:

Orayvi (Oraibi), Third Mesa, Hopi Reservation; Navajo County; Arizona; USA

Catalog Number:

9/566

Barcode:

090566.000

See related items:

Hopi Pueblo

Ceremonial/Ritual items

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws6a2ac664e-0897-4e7f-8723-92f1f49dbff3

EDAN-URL:

edanmdm:NMAI_97645

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2011-08-03T19:24:00.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_Hq28xEbhQw8

Creator:

André Emmerich Gallery  Search this

Names:

Galerie André Emmerich  Search this

Sotheby Parke Bernet & Co.  Search this

Sotheby's (Firm)  Search this

Caro, Anthony, 1924-  Search this

Emmerich, André  Search this

Francis, Sam, 1923-1994  Search this

Frankenthaler, Helen, 1928-2011  Search this

Greenberg, Clement, 1909-1994  Search this

Hockney, David  Search this

Hofmann, Hans, 1880-1966  Search this

Louis, Morris, 1912-1962  Search this

Noland, Kenneth, 1924-2010  Search this

Olitski, Jules, 1922-2007  Search this

Pepper, Beverly  Search this

Extent:

311.4 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Visitors' books

Sound recordings

Video recordings

Scrapbooks

Etchings

Date:

circa 1929-2009

Summary:

The André Emmerich Gallery records and André Emmerich papers measure 311.4 linear feet and date from 1929 to 2009. The collection documents the business of the André Emmerich Gallery as well as André Emmerich's life and activities related to the business of selling art. Gallery records include correspondence; appointment books; administrative and subject files; exhibition files; artist files and accounts; inventory, sales, purchase, and consignment records; chronological files; financial and legal records; printed materials; original artwork; photographic and audiovisual materials. Also found are personal papers and records relating to André Emmerich. A small addition received in 2014 includes general correspondence, administrative files, exhibition files, artists' files, inventory records, consignment records, printed material, photographic materials, and André Emmerich personal papers and records.

Scope and Content Note:

The André Emmerich Gallery records and André Emmerich papers measure 311.4 linear feet and date from 1929 to 2009. The collection documents the business of the André Emmerich Gallery as well as André Emmerich's life and activities related to the business of selling art. Gallery records include correspondence; appointment books; administrative and subject files; exhibition files; artist files and accounts; inventory, sales, purchase, and consignment records; chronological files; financial and legal records; printed materials; original artwork; photographic and audiovisual materials. Also found are personal papers and records relating to André Emmerich.

The records document the gallery's daily business operations, exhibitions, and relationships with artists, dealers, clients, galleries, and museums. Artists particularly well-represented throughout the collection include Anthony Caro, Sam Francis, Helen Frankenthaler, David Hockney, Hans Hofmann, Morris Louis, Kenneth Noland, Jules Olitski, and Beverly Pepper.

Records pre-dating the gallery's establishment in 1954 are primarily newspaper and magazine clippings related to artists, personal photographs and photographs of artists, an original etching, and some of André Emmerich's personal records including biographical materials, correspondence, writings, and legal and financial records. Records post-dating the gallery's closure in 1998 are primarily residual business records related to the final disposition of artwork, clippings, photographs of André Emmerich and gallery staff, biographical materials, personal correspondence, writings, legal and financial records, and condolences received by Emmerich's wife upon his death in 2007.

Correspondence is primarily with galleries, museums and clients about business matters. Correspondence files also cover topics such as appraisals, authentications, offers of sale, artists seeking representation, image requests, job applications and recommendations. Also included are the New York gallery's copies of correspondence between the New York staff and the Zurich staff.

André Emmerich's appointment books document appointments, notes, and reminders about Emmerich's business and personal activities. Four appointment books relating to the birth of Emmerich's three sons and second marriage were kept by the family. The appointment books are access restricted and require written permission to use.

Administrative files include corporate records establishing the Andre Emmerich gallery's structure, records documenting the gallery's daily operations, advertising and publicity material, and records about the Sotheby's acquisition. There are also materials related to Top Gallant Farm, from its establishment to its closure. Travel records relate to André Emmerich's business trips and vacations along with some files on the travels of a several staff members at the gallery. Files about the operations of the Galerie André Emmerich in Zurich, Switzerland are included in the series as well.

Subject files relate to Emmerich's gallery business as well as personal and political interests, such as antiquities, art fairs and exhibitions, lecture research, art associations, and sculpture parks. There are several files on the art critic Clement Greenberg and former president of Gay Men's Health Crisis, Nathan Kolodner, who was also an art dealer and director of the Andre Emmerich Gallery.

Exhibition files contain numerous exhibition catalogs and printed materials related to exhibitions held or organized by the André Emmerich Gallery in Manhattan and Galerie André Emmerich in Zurich. The files contain materials ranging such as exhibition invitations, posters, printed materials, press releases, and guest books. Photographs of exhibitions can be found in the Photographic Materials series.

Artist files include biographical materials, clippings, correspondence, mailing lists, price lists, printed materials, and occasionally lectures, writings, and audiovisual materials for many of the artists represented or shown by André Emmerich Gallery. The General Correspondence files might contain duplicates or expanded versions of some of the correspondence. Photographs of artists can be found in the Photographic Materials series.

Artist accounts comprise account statements prepared periodically by the gallery documenting each artist's expenses and sales. Ledgers and general accounting files can be found in the Other Financial and Legal Records series.

Inventory records include inventory cards describing artwork entering and leaving the gallery and files containing various gallery inventories. Artist inventory cards, representing artists from both the New York and Zurich galleries, list the artist, title, date, media and measurements of an artwork. The cards also indicate whether the work was ultimately sold, returned to the artist, consigned, etc., and divided into categories accordingly. Inventory files show various gallery inventories.

Sales records document gallery sales and include paid invoices, records relating to Zurich sales, general sales records such as price lists and canceled sales, and Sotheby's Parke-Bernet auction reports. There are gaps in sales invoices in 1961-1964 and 1969-1971.

Purchase records include correspondence and invoices related to purchases and offers; annotated invoices for works of art bought by the gallery; André Emmerich, Inc. related purchase records; "Non-Modern" art related purchase records.

Consignment records include correspondence and consignment agreements documenting consignments to and from the André Emmerich Gallery; consignments from other galleries to André Emmerich, Inc.; and general consignment records.

Chronological files include copies of invoices or cover letters documenting the movement of artwork into and out of the gallery through sales, consignments, loans, and approvals. Records dating January through August 1968, January through March 1969, and September 1969 through July 1971 are missing.

Financial and legal records include client and partner account statements, resale and exempt organization certificates, accounting ledgers, and legal files related to disputes involving or of interest to the gallery.

Printed materials include auction catalogs and reports, books, and clippings describing André Emmerich, the galleries in New York and Zurich, Top Gallant Farm, and the art world. Also included is a large scrapbook created by the gallery containing clippings and gallery announcements dated 1955-1958. Clippings relating to particular artists can be found in the Artists Files series.

There are two pieces of original artwork in the collection. One is a 1974 print of a 1933 composite etching by Esther Dick Gottlieb, Adolphe Gottlieb, Edgar Levy, Lucille Corcos Levy, David Smith, and Dorothy Dehner Smith. The second is a 1998 lithograph by Louise Bourgeoise, called The Face of the Critic. The artist gave the lithograph as a gift in honor of Robert Hughes and the Archives of American Art and is numbered 61 out of a series of 300.

Photographic materials include prints, slides, negatives, and transparencies. Subjects include artists, André Emmerich, gallery installations, Top Gallant Farm, events, artists' studios, gallery staff, gallery space, and artwork. Photographs which show André Emmerich are indicated as such in the finding aid.

Audiovisual materials includes videocassettes and one audiocassette related to the art world. Videocassettes related to specific artists can be found in the Artists Files series. Videocassettes related to André Emmerich can be found in the André Emmerich Personal Papers and Records series. Videocassettes related to Top Gallant Farm and Sotheby's can be found in the Administrative Files series.

Personal papers and records relating to André Emmerich include biographical materials, personal correspondence, writings and lectures, and legal and financial records. The biographical materials include an address book, interviews and identifying documents. Writings include articles, edits, dissertations, lectures, etc. There are also some miscellaneous correspondence which is organized chronologically.

The small addition received in 2014 includes general correspondence, administrative files, exhibition files, artists' files, inventory records, consignment records, printed material, photographic materials, and André Emmerich personal papers and records.

Arrangement:

The collection is arranged as 19 series:

Missing Title

Series 1: General Correspondence Files, 1958-2006 (boxes 1-18, OV 314-315; 18.2 linear feet)

Series 2: André Emmerich Appointment Books, 1954-2007 (boxes 19, 325, 326; 1.7 linear feet)

Series 3: Administrative Files, 1954-2003 (boxes 20-31, 306, OV 314, OV 316-319; 11 linear feet)

Series 4: Subject Files, 1958-1967, 1971-2000 (boxes 31-32, 306, OV 318, OV 320; 2 linear feet)

Series 5: Exhibition Files, circa 1954-1998 (boxes 32-40, 306, 307, OV 318-322; 8.5 linear feet)

Series 6: Artists Files, 1929-1932, 1938-2007 (boxes 40-68, 307, 308, OV 320-323; 28 linear feet)

Series 7: Artist Accounts, 1958-1998 (boxes 68-81; 13.5 linear feet)

Series 8: Inventory Records, circa 1954-2000(boxes 82-128; 46.5 linear feet)

Series 9: Sales Records, 1959-1998 (boxes 128-168; 40 linear feet)

Series 10: Purchase Records, 1961-1966, 1972-1994 (boxes 168-170; 2 linear feet)

Series 11: Consignment Records, 1961-2002 (boxes 170-177; 7.7 linear feet)

Series 12: Chronological File of Incoming and Outgoing Artwork, 1968-1998 (boxes 178-185; 8 linear feet)

Series 13: Other Financial and Legal Records, 1956-1999 (boxes 186-202; 16.5 linear feet)

Series 14: Printed Materials, 1955-1960, 1965-2008 (boxes 202-204, 308, 309; 3 linear feet)

Series 15: Original Artwork, 1933, 1974, 1998 (box 205, 310; 0.7 linear feet (2 folders))

Series 16: Photographic Materials, circa 1930-1935, 1941-1998, circa 2005 (Boxes 205-296, 311-313, OV 324; 92.8 linear feet)

Series 17: General Audio and Video Recordings, 1985, 1990-1995 (Boxes 297-298; 1.3 linear feet)

Series 18: André Emmerich Personal Papers and Records, 1937-1940, 1946-2008 (Boxes 298-305, OV 321, OV 323; 7.7 linear feet)

Series 19: Addition to the The André Emmerich Gallery records and André Emmerich papers, 1956-2009 (Boxes 328-329, OV 330; 2.1 linear feet)

Historical Note:

André Emmerich (1924-2007) was one of America's most noted contemporary art dealers and opened the André Emmerich Gallery in New York in 1954. The gallery showcased contemporary art, particularly Color Field painting and monumental sculpture.

André Emmerich was born on October 11, 1924 in Frankfurt, Germany. From age 7 he was raised in Amsterdam before emigrating with his family to New York City in 1940. He studied at Oberlin College and developed an interest in pre-Columbian art and antiquities. After graduation, he spent ten years in Paris working as a writer and editor before returning to New York. He married Constance Emmerich and the couple had three sons, Adam, Noah, and Toby.

In 1954 Emmerich opened the André Emmerich Gallery at 18 East 77th Street and initially specialized in contemporary American and European art and pre-Columbian antiquities. In 1956, the gallery moved to 17 East 64th Street, and in 1959 to the Fuller Building at 41 East 57th Street. Emmerich wrote two books about pre-Columbian art, Art Before Columbus in 1963 and Sweat of the Sun, Tears of the Moon: Gold and Silver in Pre-Columbian Art in 1965.

In 1961, Emmerich learned that French and Company, a gallery advised by art critic Clement Greenberg, was closing its department of contemporary art. French and Company had represented Color Field painters Morris Louis, Kenneth Noland, and Jules Olitski. Emmerich immediately invited Louis and Noland to be represented by his gallery. In 1966 he extended the invitation to Olitski as well, and Helen Frankenthaler joined soon after. The gallery's reputation as one of the earliest and most important promoters of Color Field painters was launched.

In addition to Color Field painters, the gallery represented, among others, Pierre Alechinsky, Karel Appel, Milton Avery, Herbert Ferber, Sam Francis, John Graham, Al Held, David Hockney, Hans Hofmann, John Hoyland, Judy Pfaff, Miriam Schapiro, and Anne Truitt.

Until January 1983, sales of pre-Columbian art primarily went through an entity called André Emmerich Inc. (AE Inc.), while sales of contemporary went through the André Emmerich Gallery Inc. (AEG). In 1983, the two entities were merged and operated under the name André Emmerich Gallery Inc.

In 1971, Emmerich began operating a downtown gallery at 420 West Broadway, in SoHo, in space shared with Leo Castelli, Virginia Dwan, and Ileana Sonnabend. In 1972, Emmerich opened a branch of his gallery in Zurich. He incorporated the Galerie André Emmerich Gmbh primarily for the purpose of leasing gallery space in Zurich. Until February 1974, sales of Pre-Columbian art in Zurich were made by an entity called André Emmerich Gallery Inc., New York Filiale Zurich. The Galerie André Emmerich Gmbh was officially liquidated in May 1982. The Filiale was formally closed in October 1996. Galerie André Emmerich also enjoyed a short-lived joint venture with Gimpel & Hanover.

André Emmerich served as president of the Art Dealers Association of America from 1972-1974 and again from 1991-1994.

Emmerich opened a private 150 acre sculpture park, Top Gallant Farm, on his estate in Pawling, New York, in 1982, where he stored and exhibited monumental sculptures by artists his gallery represented including Anthony Caro, Beverly Pepper, Alexander Liberman, Alexander Calder, Mark di Suvero, George Rickey, and Keith Haring. David Hockney painted waves onto floor of the property's swimming pool in 1986. Emmerich operated the sculpture park until 1996.

Emmerich sold his gallery to Sotheby's in 1996. He continued to be affiliated with the gallery until Sotheby's closed the gallery in 1998. Emmerich then began work on his memoir, My Life With Art, excerpts of which have been published in Art News, the Wall Street Journal, and The New Criterion.

Andre Emmerich died in New York 2007 and is survived by his second wife, Susanne Emmerich.

Related Material:

Among the holdings of the Archives of American Art is an oral history interview with André Emmerich conducted by Mona Hadler on January 18, 1993.

Provenance:

The André Emmerich Gallery records and André Emmerich papers were donated to the Archives of American Art by André Emmerich in eight accretions between 1999 and 2002. Two additional accretions were donated by Emmerich's wife Susanne in 2008 and 2009; and by James Yohe, executive director (1990-1999), in 2009 and 2014.

Restrictions:

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

Topic:

Sculpture, Abstract  Search this

Color-field painting  Search this

Art -- Economic aspects  Search this

Artists' studios -- Photographs  Search this

Function:

Art galleries, Commercial -- New York (State)

Art galleries, Commercial -- Switzerland

Genre/Form:

Photographs

Visitors' books

Sound recordings

Video recordings

Scrapbooks

Etchings

Citation:

André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.andremmg

See more items in:

André Emmerich Gallery Records and André Emmerich Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw995f3b4aa-1b0f-46f4-8b5d-e0bf1191a740

EDAN-URL:

ead_collection:sova-aaa-andremmg

Collection Creator:

André Emmerich Gallery  Search this

Container:

Box 299, Folder 17

Type:

Archival materials

Date:

1986

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.

Collection Rights:

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

Collection Citation:

André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.

Sponsor:

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

See more items in:

André Emmerich Gallery Records and André Emmerich Papers

André Emmerich Gallery Records and André Emmerich Papers / Series 18: André Emmerich Personal Papers and Records / 18.2: Personal Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f5801dc9-9c6f-4541-b70f-5004ad9f21b2

EDAN-URL:

ead_component:sova-aaa-andremmg-ref10178

Creator:

Gill, James Dwyer, 1849-1937  Search this

Subject:

Bricher, Alfred Thompson  Search this

Brown, George Loring  Search this

Browne, George Elmer  Search this

De Haas, Mauritz Frederik Hendrik  Search this

Freer, Frederick W. (Frederick Warren)  Search this

Citation:

James D. Gill letters from artists, 1884-1885, circa 1890. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Collectors and collecting  Search this

Theme:

Art Market  Search this

Record number:

(DSI-AAA_CollID)8210

(DSI-AAA_SIRISBib)210381

AAA_collcode_gilljame

Theme:

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210381

Interviewee:

Bader, Franz, 1903-1994  Search this

Interviewer:

Haifley, Julie  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Franz Bader, 1978 November 2. Archives of American Art, Smithsonian Institution.

Topic:

Art, American  Search this

Art dealers -- Washington (D.C.) -- interviews  Search this

Photographers -- Washington (D.C.) -- Interviews  Search this

Theme:

Photography  Search this

Record number:

(DSI-AAA_CollID)12556

(DSI-AAA_SIRISBib)212518

AAA_collcode_bader78

Theme:

Photography

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212518

Interviewee:

Bader, Franz, 1903-1994  Search this

Interviewer:

Haifley, Julie  Search this

Extent:

27 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1978 November 2

Scope and Contents:

An interview of Franz Bader conducted 1978 November 2, by Julie Link Haifley, for the Archives of American Art.

Biographical / Historical:

Franz Bader (1903-1994) was an art dealer and photographer in Washington, D.C.

General:

Originally recorded on 1 sound cassette. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 31 min.

Bader's heavy accent makes this interview difficult to understand.

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 others.

Restrictions:

Transcript available on the Archives of American Art website.

Topic:

Art, American  Search this

Art dealers -- Washington (D.C.) -- Interviews  Search this

Photographers -- Washington (D.C.) -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.bader78

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95afebae5-55d6-4b7f-8a51-817f099144d3

EDAN-URL:

ead_collection:sova-aaa-bader78

Creator:

Zabriskie Gallery  Search this

Subject:

Zabriskie, Virginia M.  Search this

Galerie Zabriskie  Search this

Citation:

Zabriskie Gallery records, 1905-2011. Archives of American Art, Smithsonian Institution.

Topic:

Art, Modern -- 20th century  Search this

Theme:

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)10983

(DSI-AAA_SIRISBib)214845

AAA_collcode_zabrgall

Theme:

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_214845

Creator:

Zabriskie Gallery  Search this

Names:

Galerie Zabriskie  Search this

Zabriskie, Virginia M., 1927-1991  Search this

Extent:

110.5 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1905-2011

Summary:

The Zabriskie Gallery records measure 110.5 linear feet and date from 1905 to 2011. The records document the history of the Zabriskie Gallery through leases, permits, floor plans, and other administrative files; guestbooks; appointment books, notebooks, and other desk diaries; correspondence from New York and Paris galleries, museums, clients, and other correspondence; appraisals, inventories, consigments, and other registrar files; artist files consisting of resumes, correspondence, exhibition material, and photographs of artwork; institution files consisting of correspondence, consignments,and artwork inquiries with museums, galleries, and corporations; exhibition files consisting of loan agreements, press releases, and correspondence related to exhibitions shown at the gallery; invoices, price lists, and other financial records; clippings, press packets, newsletters, and other printed material; photographs, slides, and transparencies of exhibitions and artists works; and correspondence, photographs, awards, and other personal records of Virginia Zabriskie.

Scope and Contents:

The Zabriskie Gallery records measure 110.5 linear feet and date from 1905 to 2011. The records document the history of the Zabriskie Gallery through leases, permits, floor plans, and other administrative files; guestbooks; appointment books, notebooks, and other desk diaries; correspondence from New York and Paris galleries, museums, clients, and other correspondence; appraisals, inventories, consigments, and other registrar files; artist files consisting of resumes, correspondence, exhibition material, and photographs of artwork; institution files consisting of correspondence, consignments,and artwork inquiries with museums, galleries, and corporations; exhibition files consisting of loan agreements, press releases, and correspondence related to exhibitions shown at the gallery; invoices, price lists, and other financial records; clippings, press packets, newsletters, and other printed material; photographs, slides, and transparencies of exhibitions and artists works; and correspondence, photographs, awards, and other personal records of Virginia Zabriskie.

Arrangement:

The collection is arranged into twelve series.

Series 1: Administrative Files, 1969-2010 (1.6 linear feet; Boxes 1-2)

Series 2: Guestbooks, 1954-1995 (1.3 linear feet; Boxes 2-3)

Series 3: Desk Diaries, 1968-1997 (3.4 linear feet; Boxes 3-7)

Series 4: Correspondence, 1958-2010 (7.3 linear feet; Boxes 7-14)

Series 5: Registrar Files, 1970-2010 (10.0 linear feet; Boxes 14-22, 110-111, OV 112)

Series 6: Artist Files, 1905-2010 (66.7 linear feet; Boxes 22-87, OV 113-114)

Series 7: Institution Files, 1951-2009 (5.5 linear feet; Boxes 88-93)

Series 8: Exhibition Files, 1955-2009 (6.3 linear feet; Boxes 93-99)

Series 9: Financial Records, 1960-2011 (3.7 linear feet; Boxes 99-103)

Series 10: Printed Material, 1948-2010 (1.0 linear feet; Boxes 103-104)

Series 11: Photographic Material, 1950-2006 (5.6 linear feet; Boxes 103-108, OV 112)

Series 12: Virginia Zabriskie Personal Records, 1943-2008 (0.3 linear feet; Boxes 108-109)

Biographical / Historical:

Zabriskie Gallery was founded by Virignia Zabriskie in 1954 when she purchased the Korman Gallery from Marvin Korman. The gallery featured works from artists such as Robert De Niro Sr., Lester Johnson, Mary Frank, and Pat Adams. Some of the more notable exhibitions included "Surrealism 1936 — Objects, Photographs, Collages and Documents" (1986), "Surrealism and the Book" (1991), and "André Masson in America" (1996). In 1977, Zabriskie opened Galerie Zabriskie in Paris to primarily show photography as there was only one gallery at the time doing so in Paris. Zabriskie closed the Galerie Zabriskie in 1998, but continued to operate the Zabriskie Gallery in New York unitl it closed in 2010.

Virginia Zabriskie (1927-2019) was an American art dealer who worked primarily in New York City and Paris. Zabriskie completed her studies in art history at New York University's Institute of Fine Art. Zabriskie became one of the youngest art dealers in New York in 1954 when she purchased the Korman Gallery. Zabriskie was also a founding member of the Art Dealers Association of America.

Related Materials:

Also included in the Archives of American Art is an oral history interview with Virginia Zabriskie conducted by Paul Cummings, May 28-June 6, 1975.

Provenance:

The Zabriskie Gallery records were donated to the Archives of American Art in seven installments by Virginia Zabriskie between 1992-2011.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References 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.

Topic:

Art, Modern -- 20th century  Search this

Function:

Art galleries, Commercial -- France

Art galleries, Commercial -- New York (State)

Citation:

Zabriskie Gallery Records, 1905-2011. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.zabrgall

See more items in:

Zabriskie Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a1494de5-aa0b-4dfb-ade0-49ac762190b2

EDAN-URL:

ead_collection:sova-aaa-zabrgall

Creator:

Allan Frumkin Gallery  Search this

Extent:

25.6 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1880

1944-2016

Summary:

The records of the Allan Frumkin Gallery, a Chicago and New York City gallery, measure 25.6 linear feet and date from 1944-2016 with one letter pertaining to artwork documentation dating from 1880. The collection documents the gallery's activities through administrative files, dealer and client correspondence, artist files, financial records, gallery newsletters, printed material, and photographic material. Artist files represent over one-third of the collection and provide insight into the close relationship between Frumkin and many of the gallery's major artists including Robert Arneson, Luis Cruz Azaceta, Jack Beal, Joan Brown, Colin Lanceley, Maryan, Roberto Matta, Philip Pearlstein, Peter Saul, H.C. Westermann, and William T. Wiley. Also included in the collection are the Frumkin Family papers, consisting of writings by Allan and wife Jean Martin Frumkin, editorial copy of Art Book Review, personal papers, and material relating to the Frumkin personal art collection and estate.

Scope and Contents:

The records of the Allan Frumkin Gallery, a Chicago and New York City gallery, measure 25.6 linear feet and date from 1944-2016 with one letter pertaining to artwork documentation dating from 1880. The collection documents the gallery's activities through administrative files, dealer and client correspondence, artist files, financial records, gallery newsletters, printed material, and photographic material. Also included in the collection are the Frumkin Family papers.

The administrative files reflect the daily operations and business activities of the gallery. Included are address books, appointment books, art fair records, artwork documentation, auction records, gallery logs, maintenance records, leases, loan agreements, shipping receipts, mailing lists, provenance research, and documentation pertaining to the incorporation and administration of several iterations and branches of the gallery, including Frumkin & Struve Gallery, Frumkin/Adams Gallery, and Allan Frumkin Gallery Photographs.

Correspondence is primarily with dealers, clients, and institutions pertaining to sales, purchases, consignments, provenance, and shipping of artworks. The majority of the correspondence dates from the gallery's first decade, 1952-1962.

Artist files represent over one-third of the collection and provide insight into the close relationship between Frumkin and many of the gallery's major artists including Robert Arneson, Luis Cruz Azaceta, Jack Beal, Joan Brown, Colin Lanceley, Maryan, Roberto Matta, Philip Pearlstein, Peter Saul, H.C. Westermann, and William T. Wiley.

Financial records include check balance books, expenses, financial statements, inventories, invoices, price lists, and sales ledgers. Financial transactions are also found amongst the dealer and client correspondence.

Among the newsletters and related files is a full set of the published newsletters, as well as editorial copy and drafts for nearly every issue. Published from 1976-1995, the newsletters detailed gallery activities and highlighted gallery artists in profiles which included interviews and photographs.

Printed material includes articles and clippings, exhibition announcements, catalogs, newsletters, bulletins, press releases, and assortment of other material pertaining to the Allan Frumkin Gallery and others.

While not extensive, the photographic material is rich, depicting Allan Frumkin, gallery director George Adams, gallery artists, studios, exhibition installations, and artworks, in a variety of formats.

Also included in the records are the Frumkin family papers, which include writings by Allan Frumkin and Jean Martin Frumkin, Art Book Review editorial files, personal papers, and detailed material relating to the Frumkin personal art collection and estate. The writings by Allan Frumkin are particularly insightful in the context of the gallery records, and include essays on art dealing and the gallery, a talk on the artist, Matta, memoir drafts, and an interview transcript.

Arrangement:

The collection is arranged as eight series.

Series 1: Administrative Files, 1880, 1950-2002 (2 linear feet; Boxes 1-2)

Series 2: Correspondence, 1948-2010 (5.4 linear feet; Boxes 3-8)

Series 3: Artist Files, 1944-2015 (9.3 linear feet; Boxes 8-17, OVs 27-28)

Series 4: Financial Records, 1950-2002 (0.9 linear feet; Boxes 17-18)

Series 5: Newsletters, 1970-2000 (1.1 linear feet; Boxes 18-19)

Series 6: Printed Material, 1949-2009 (0.7 linear feet; Boxes 19-20)

Series 7: Photographic Material, 1950-2000 (0.7 linear feet; Box 20)

Series 8: Frumkin Family Papers, 1950-2016 (5.5 linear feet; Boxes 21-26)

Biographical / Historical:

Allan Frumkin Gallery (est. 1952; closed 1995) was a gallery owned and operated by art dealer Allan Frumkin with locations in Chicago (1952-1980; 1979-1980 as Frumkin & Struve) and New York City (1959-1995; 1988-1995 as Frumkin/Adams). Frumkin began his career exhibiting the drawings, paintings, and prints of European artists he met and developed relationships with while traveling abroad, including Roberto Matta, Alberto Burri, Alberto Giacometti, and Esteban Vicente. He soon began representing artists from across the United States, including Chicago artists Leon Golub, Jack Beal, Robert Barnes, June Leaf, and H.C. Westermann; West Coast artists Robert Arneson, Roy de Forest, and Joan Brown; and New York realist painters including Philip Pearlstein, Paul Georges, Alfred Leslie, Luis Cruz Azaceta, and Peter Saul. In the early years, the geography and aesthetic of the artists Frumkin championed--surrealist, realist, figurative, offbeat--contrasted with the prevailing trend toward New York abstraction. Frumkin retired as a gallery director in 1995, and Frumkin/Adams Gallery became the George Adams Gallery. Frumkin continued to work as a private dealer as Allan Frumkin Incorporated until his death in 2002.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Allan Frumkin conducted by Paul Cummings in 1970.

Provenance:

Donated to the Archives of American Art in 2017 by Peter Frumkin, Allan Frumkin's son.

Restrictions:

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

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.

Citation:

Allan Frumkin Gallery records, 1880, 1944-2016. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.allafrum

See more items in:

Allan Frumkin Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92b6dadfa-73da-4882-838a-bba1a4df1997

EDAN-URL:

ead_collection:sova-aaa-allafrum

Creator:

Tibor de Nagy Gallery  Search this

Names:

Art Dealers Association of America  Search this

Art in America  Search this

Hirshhorn Museum and Sculpture Garden  Search this

Museum of Modern Art (New York, N.Y.)  Search this

National Institute of Arts and Letters (U.S.)  Search this

United States Information Agency  Search this

Castoro, Rosemarie  Search this

Ciarrocchi, Ray, 1933-  Search this

De Nagy, Tibor, 1908-1993  Search this

Goodnough, Robert, 1917-  Search this

Gregor, Harold, 1929-  Search this

Grooms, Red  Search this

Hirsch, Pauli  Search this

Kozloff, Joyce  Search this

Onassis, Jacqueline Kennedy, 1929-1994  Search this

Penney, Charles Rand, 1923-2010  Search this

Reginato, Peter, 1945-  Search this

Robbin, Tony  Search this

Rockefeller, Nelson A. (Nelson Aldrich), 1908-1979  Search this

Rose, Leatrice  Search this

Witteman-Widrig, Nancy  Search this

Extent:

43.9 Linear feet

3.26 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Photographs

Date:

1941-2016

Summary:

The records of the New York Tibor de Nagy Gallery measure 43.9 linear feet and date from 1941-2016. The records document the activities of the gallery through business records and correspondence, exhibition files, artist files, financial and legal records, inventory records, and a small amount of records of the Houston Branch.

Scope and Contents:

The records of the New York Tibor de Nagy Gallery measure 43.9 linear feet and date from 1941-2016. The records document the activities of the gallery through business records and correspondence, exhibition files, artist files, financial and legal records, inventory records, a small amount of records of the Houston Branch, and exhibition announcements.

Business records include correspondence and administrative files. Business correspondence is with clients, curators, galleries, museums, colleges and universities, organizations, and publications, such as the Museum of Modern Art, Art Dealers Association, National Institute of Arts and Letters, United States Information Agency, The Hirshhorn Museum, Art News, Art in America, Pauli Hirsch, Jacqueline Kennedy, Charles Penney, Nelson Rockefeller, and many others. Correspondence concerns sales, purchases, shipping, loans, general exhibitions, publicity, events, publications and publishing, and other topics. Additional documents found within the correspondence files are purchase invoices, inquiries, shipping receipts, and photographs. Correspondence with artists is found in the Artist Files series. Administrative files concern day-to-day operations and include leases and construction documents, incorporation, insurance, art appraisals, art framing, and other general business affairs.

Exhibition files document many exhibitions held at the Gallery and include clippings and research materials, exhibition catalogs, exhibit and gallery plans, correspondence, and photographs, some in digital form. Some loan agreements and shipping receipts are also included.

Artist files document business affairs with individual artists and also contain collected information on artists. Typically, there are several files on each artist which may include printed materials, biographies, consignments, loans documentation, sales documentation, correspondence, photographic material, publicity, and reviews. Artists well represented among these files include Rosemarie Castoro, Ray Ciarrocchi, Robert Goodnough, Harold Gregor, Red Grooms (including a transcript of "A Conversation with Marison and Red Grooms"), Joyce Kozloff, Peter Reginato, Tony Robbin, Leatrice Rose, and Nancy Witteman-Widrig.

Financial records include incomplete runs of billing statements, expenses and cash disbursements, paid and unpaid invoices, and sales and shipping receipts. Inventory records consist primarily of index cards and/or sheets that document stock, consignments, loans, sales, and shipping.

A relatively small amount of Houston branch records include announcements, clippings, correspondence, financial information including consignments, income, invoices, and statements, photographs, publicity materials and a research file on Houston art museums.

Exhibition announcements promote the gallery's exhibitions for artists including Joe Brainard, Shirley Jaffe, Fairfield Porter, Rosemarie Castoro, Alfred Leslie, and many others.

Arrangement:

The Tibor de Nagy Gallery records are arranged into seven series.

Missing Title

Series 1: Business Records and Correpondence, 1950-1993 (10 linear feet; Boxes 1-10)

Series 2: Exhibition Files, 1941-1992 (2 linear feet; Boxes 11-12)

Series 3: Artist Files, 1956-1993 (18.6 linear feet; Boxes 13-31, 46)

Series 4: Financial and Legal Records, 1951-1984 (3.5 linear feet; Boxes 31-34)

Series 5: Inventory Records, 1952-1989 (9 linear feet; Boxes 34-43)

Series 6: Houston Branch Records, 1969-1984 (1.2 linear feet; Boxes 43-45)

Series 7: Exhibition Announcements, 1953-2016 (0.8 linear feet; Boxes 47-48)

Biographical / Historical:

One of the earliest modern art galleries in New York, Tibor de Nagy Gallery was founded in 1950 by Tibor de Nagy and John Bernard Myers. Initially the gallery featured the work of second generation Abstract Expressionists and continues to operate today with a focus on the Post War second generation New York School.

John B. Myers served as the gallery's first director and De Nagy was the business manager while continuing to work in the banking business. Early on, the gallery introduced and promoted second generation Abstract Expressionists such as Grace Hartigan and Alfred Leslie. The gallery quickly earned a reputation for promoting the work of emerging artists, including Carl Andre, Helen Frankenthaler, Jane Freilicher, Red Grooms, Fairfield Porter, and Larry Rivers, among others, giving many of them their first solo shows.

Later the gallery gained a reputation as a space for collaborative artistic ventures and organized exhibitions that combined visual imagery and poetry by several New York School poets. The gallery also published books by poets John Ashbery, Frank O'Hara, and James Schuyler, as well as a poetry newsletter entitled Semi-Colon.

In 1973 de Nagy teamed with Marvin Watson to open the Watson/deNagy Gallery in Houston, which closed in 1983. Tibor de Nagy retired from banking in 1970 and continued running the gallery until he died in 1993. The Tibor de Nagy gallery continues operating today at 724 Fifth Avenue under the direction of Andrew Arnot and Eric Brown. It also works with a number of estates, including those of Joe Brainard, Rudy Burckhardt, Donald Evans, and Jess.

Related Materials:

Among the holdings of the Archives of American Art are an oral history interview with Tibor de Nagy, March 29, 1976 conducted by Paul Cummings; the John Bernard Myers papers (which do not contain documentation of his work at the gallery); and the Watson/de Nagy Houston gallery records available only on microfilm, a small portion of which may also be duplicated in the original records described in this finding aid.

Provenance:

The records were donated by Tibor de Nagy Gallery in multiple accessions between 1993-1996 and in 2018. Additional material about the exhibition, Digital Explorations: Emerging Visions in art, 1988, donated in 2020 by one of the exhibition curators, Ligia Ercius-DiPaola.

Restrictions:

Use of original papers requires an appointment and is limited to the Washington, D.C. research facility. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References 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.

Topic:

Art, Modern  Search this

Function:

Art galleries, Commercial -- New York (State)

Art galleries, Commercial -- Texas

Genre/Form:

Photographs

Citation:

Tibor de Nagy Gallery records, 1941-1993. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution's Collections Care and Preservation Fund.

Identifier:

AAA.tibode

See more items in:

Tibor de Nagy Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw946ac8606-480f-4fee-ae39-03f1093720dc

EDAN-URL:

ead_collection:sova-aaa-tibode

Creator:

Meiss, Millard, 1904-1975  Search this

Names:

American Committee for the Restoration of Italian Monuments  Search this

College Art Association (U.S.)  Search this

Committee to Rescue Italian Art  Search this

Institute for Advanced Study (Princeton, N.J.)  Search this

Metropolitan Museum of Art (New York, N.Y.)  Search this

Princeton University  Search this

Gombrich, E. H. (Ernst Hans), 1909-2001  Search this

Lavin, Irving, 1927-  Search this

Nordenfalk, Carl Adam Johan, 1907-  Search this

Panofsky, Dora Mosse  Search this

Panofsky, Erwin, 1892-1968  Search this

Extent:

11.4 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1918-circa 1977

bulk 1950-1975

Summary:

The papers of art historian, writer, and educator Millard Meiss measure 11.4 linear feet and date from circa 1918 to circa 1977, with the bulk of the material dating from 1950 to 1975. The papers are comprised of biographical material, correspondence, writing projects and lectures, and professional files that document his post World War II work as chairman of the American Committee for the Restoration of Italian Monuments, among other work.

Scope and Contents:

The papers of art historian, writer, and educator Millard Meiss measure 11.4 linear feet and date from circa 1918 to circa 1977, with the bulk of the material dating from 1950 to 1975. The papers are comprised of biographical material, correspondence, writing projects and lectures, and professional files that document his post World War II work as chairman of the American Committee for the Restoration of Italian Monuments, among other work.

Biographical material includes various awards and honorary degrees received; a bibliography of published and unpublished books, articles, essays, and editing projects by Meiss; memorial materials and obituaries for Meiss as well as for Dora and Erwin Panofsky (to whom he was close); and resumes and education materials among other files.

Correspondence is predominantly professional in nature and is with colleagues, peers, museums, and institutions. Some correspondents include Ernst Gombrich, Irving Lavin, Carl Nordenfalk, and Erwin Panofsky, among many others.

Writing project and lecture files document Meiss's work on numerous published and unpublished articles and book projects, and lectures. Books include The Boucicaut Hours, De Artibud Opscula XL: Essays on Erwin Panofsky, French Painting in the Time of Jean de Berry, and Painting in Florence and Siena, among many other works. Files contain manuscripts, notes, book proposals, reviews, correspondence, and clippings.

Professional files document the many committees, institutions, and organizations in which Meiss was involved, including the American Committee for the Restoration of Italian Monuments, Committee to Rescue Italian Art, and International Committee of the History of Art. Also included are general files on The Art Bulletin, College Art Association, Institute for Advanced Study, Metropolitan Museum of Art, and Princeton University, among others.

Arrangement:

This collection is arranged as 4 series:

Missing Title

Series 1: Biographical Material, circa 1918-circa 1977 (0.3 linear feet; Box 1)

Series 2: Correspondence, circa 1936-circa 1977 (4.3 linear feet; Boxes 1-5)

Series 3: Writings Projects and Lectures, circa 1934-circa 1975 (2.4 linear feet; Boxes 5-8)

Series 4: Professional Files, circa 1933-circa 1975 (4.4 linear feet; Boxes 8-12)

Biographical / Historical:

Millard Meiss (1904-1975) was an art historian and educator whose expertise was medieval and Renaissance art. He taught at Columbia University and Princeton, and was a curator at the Fogg Museum for four years. Following World War II, Meiss served as chairman of the American Committee for the Restoration of Italian Monuments until 1951.

Millard Meiss received a B. A. from Princeton University in 1926, and a Ph. D. from New York University in 1933. He was a professor of fine arts and archaeology at Columbia University from 1934-1953. In 1954, Meiss accepted the position of professor of fine arts and curator of paintings at the Fogg Art Museum at Harvard University. In 1958, he returned to Princeton, New Jersey to become professor of art history at the Institute for Advanced Study, where he remained for the rest of his career.

While at Columbia University, Meiss acted as editor-in-chief of The Art Bulletin, and also stayed on the editorial board for the next thirty-three years until his death in 1975. Throughout his career, Meiss edited several leading art journals, and wrote numerous articles and books on medieval and Renaissance painting, including Painting in Florence and Siena after the Black Death (1951), and his multi-volume French Painting in the Time of Jean de Berry (1967-1974), as well as many others.

In addition to serving as chairman of the American Committee for the Restoration of Italian Monuments after World War II, Meiss organized the Committee to Rescue Italian Art in 1966 after the flood of the Arno River in Italy. He worked to help organize the first meeting in the United States of the International Congress of the History of Art and served as president and vice-president. He was actively involved in the College Art Association of America.

Meiss was a member of many arts and scholarly organizations in Europe and the United States including the Accademia delle Arti del Disegno, Accademia Senese degli Intronati, Accademia Clementina, Accademia Toscana Colombaria, Accademia Nazionale dei Lincei, American Philosophical Society, British Academy, and the Société des Antiquaires de France. In addition, he was a Fellow of the Mediaeval Academy of America and the American Academy of Arts and Sciences, as well as an honorary trustee of the Metropolitan Museum of Art.

Meiss was also the recipient of many awards, including the Wanamaker English Prize, 1925; Haskins Medal from the Mediaeval Academy of America, 1953; Lewis Prize from the American Philosophical Society, 1967; Morey Award from the College Art Association of America, 1969, and posthumously in 1976; and the Art Dealers Association of America Award, 1974.

Provenance:

The Millard Meiss papers were donated to the archives in 1976 and 1986 by Meiss's widow Margaret L. Meiss.

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:

Art historians -- New Jersey -- Princeton  Search this

Educators -- New Jersey  Search this

Authors -- New Jersey  Search this

Topic:

Painting -- Italy  Search this

Painting -- France  Search this

Citation:

Millard Meiss papers, circa 1918-circa 1977, bulk 1950-1975. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.meismill

See more items in:

Millard Meiss Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94ebe979a-1adb-4ef8-bb78-249b7b5f81e6

EDAN-URL:

ead_collection:sova-aaa-meismill

Creator:

Rosa Esman Gallery  Search this

Names:

Tanglewood Press  Search this

Darger, Henry, 1892-1972  Search this

Esman, Rosa  Search this

Gray, Eileen, 1878-1976  Search this

Rodchenko, Aleksandr, 1891-1956  Search this

Warhol, Andy, 1928-1987  Search this

Extent:

16 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1922-2014

bulk 1972-1994

Summary:

The Rosa Esman Gallery and Tanglewood Press Inc. records measure 16.0 linear feet and date from circa 1922 to 2014, with the bulk of the records dating from 1972 to 1994. The records shed light on two businesses operated by Rosa Esman through administrative files, artist files, exhibition and event files, sales and financial records, printed material, photographic materials, and several objects.

Scope and Contents:

The Rosa Esman Gallery and Tanglewood Press Inc. records measure 16.0 linear feet and date from circa 1922 to 2014, with the bulk of the records dating from 1972 to 1994. The records shed light on two businesses operated by Rosa Esman through administrative files, artist files, exhibition and event files, sales and financial records, printed material, photographic materials, and several objects.

Administrative files contain correspondence files, printed material, and inventories; photos of the gallery, Rosa Esman, and others; a few gallery blueprints; and pins and magnets from a collaboration between the Esman Gallery and artists Roy Lichtenstein, Gustav Klutsis, Lazar "El" Lissitzky, and Sol LeWitt. Artist files consist of resumes and biographical summaries, correspondence, pricelists, exhibition material, press packets, photographic materials depicting artwork and artists, and more. Artists include Eileen Gray, Lev Nussberg, Pascal Verbena, Helen Frankenthaler, Alexander Rodchenko, Sol LeWitt, Peter Boynton, and Jan Muller. Exhibition and event files contain price lists, loan agreements, correspondence, printed materials, and photographic materials. Included in this series is one file for an exhibition held at Knoedler Gallery that was in collaboration with Rosa Esman after she had closed her gallery. Financial records consist of sales books, consignment records, receipts and invoices, ledgers, and some appraisals. Tanglewood Press Inc. files contain correspondence files, financial records, order forms and receipts, photographic materials, press packets, mailers, a certificate, and some exhibition materials. Printed material consists of some miscellaneous postcards, exhibition announcements and catalogs including a binder of exhibition announcements. Photographic material consists of photographs, slides, and negatives of artwork displayed at the gallery. There are also a number of CDs containing digital photographs.

Arrangement:

This collection is arranged as seven series.

Series 1: Administrative Files, 1973-2014 (Box 1-2, 16; 1.8 linear feet)

Series 2: Artist Files, 1920s, 1953-2011 (Box 2-8, 16; 5.7 linear feet)

Series 3: Exhibition and Event Files, 1971-2014 (Box 8-12, 16; 4.8 linear feet)

Series 4: Financial Records, 1965, 1977-2013 (Box 12-13, 16-17; 1.9 linear feet)

Series 5: Tanglewood Press Inc. Records, 1964-2003 (Box 13-15, 17; 1.0 linear feet)

Series 6: Printed Material, circa 1972-1994 (Box 2, 12, 17; 0.2 linear feet)

Series 7: Photographic Material, circa 1970s-2013 (Box 2, 7, 8, 12, 18; 0.4 linear feet)

Biographical / Historical:

Rosa Esman Gallery was established in 1972 in New York, New York by Rosa Esman. The gallery exhibited mostly twentieth-century American and European art in various mediums and styles, including pop art, European outsider art, Dada, constructivism, architecture, interior design, and Russian artists from the early twentieth century. Tanglewood Press Inc. was an art publishing company founded by Esman, and published thirteen limited-edition portfolios by a number of artists from 1965 to 1991.

With encouragement from Doris Freedman and Hans Kleinschmidt, Esman established Tanglewood Press Inc. in 1965 as a publisher of artists' portfolios. The first publication, New York Ten (1965), included artwork by Tom Wesselmann, George Segal, Claes Oldenburg, Roy Lichtenstein, Mon Levinson, Robert Kulicke, Nicholas Krushenick, Helen Frankenthaler, Jim Dine, and Richard Anuszkiewicz. Later publications included artwork by Andy Warhol, Mary Bauermeister, Ad Reinhardt, Robert Motherwell, Sol LeWitt, Jim Dine, and many others. The portfolio, "Ten Landscapes-Roy Lichtenstein (1967), was published in collaboration with Abrams Original Editions. Esman was contracted to work at Abrams Original Editions for a short period of time in the late 1970s. Esman and her Tanglewood Press Inc. were featured in the exhibition, The Great American Pop Art Store: Multiples of the sixties (1997-2000), University Art Museum, California State University, Long Beach, California.

Esman held a drawings exhibition of artwork borrowed from the Leo Castelli Gallery in 1972 in a space she rented for Tanglewood Press Inc.; she credited this as the beginning of Rosa Esman Gallery. Esman continued exhibiting in that location for the next several years, including a solo show of folded drawings by Sol LeWitt and Modern Master Drawings: Avery, Stuart Davis, De Kooning, Hoffman, Motherwell (1973). Esman moved her operation in 1975 to a building in midtown near the galleries of Tibor de Nagy and Virginia Zabriskie. Artists and printmakers shown at Esman Gallery during 1970s include Christo, Bill Fares, Tom Noskowski, Ursula Von Rydingsvard, Hannah Tierney, and Eileen Gray. In 1979, Esman began an exhibition series of Russian avant-garde art, The Russian Revolution in Art, 1-5 (1979-1983), featuring artwork by Kasmir Malevich, Alexander Rodchenko, Lyubov Popova, and many others of the Russian avant-garde. Esman moved the gallery to SoHo in 1980. In the 1980s, Esman began showing European outsider artists Pascal Verbena and Henry Darger and held a group exhibition of outsider artists in 1986, Outsiders: Art Beyond the Norm. Other exhibitions in the 1980s included Art by Architects (1980), Architecture by Artists (1981), Curator's Choice: A Tribute to Dorothy Miller (1982). Later exhibitions featured artists Joseph Zito, Sofia Dymshits-Tolstaya, Eric Snell, and Carl Goldhagen; and group shows of Dada art, twentieth-century photography, and constructivism. After closing Rosa Esman Gallery in 1992, Esman entered a partnership at Ubu Gallery with Adam Boxer and Alfred Jarry.

Rosa Mencher Esman was born in New York, New York in 1927. She studied government at Smith College in Northhampton, Massachusetts. She went abroad to Europe her junior year, visiting museums in Geneva, Florence, and Paris. After college, she worked several jobs including a position in the art book department of Harper and Brothers and as an office administrator for Rene d'Harnocourt at the Museum of Modern Art, New York. In 1957, she and a friend opened Tanglewood Gallery in Stockbridge, Massachusettes, showing artwork by artist-friends, utilizing the Museum of Modern Art lending service, and borrowing from the Downtown Gallery. The Tanglewood Gallery exhibited artists Milton Avery, Karl Schrag, Tom Wesselman, Alexander Calder, George Morrison, Robert Indiana, Richard Anuszkiewicz, Mervin Jules, and George L. K. Morris, among others. The gallery operated until circa 1960.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Rosa Esman conducted by James McElhinney, June 9-16, 2009.

Provenance:

The collection was donated by Rosa Esman in 2003 and 2014 and in 2023 by the Esate of Rosa Esman via Abigail Esman, co-executor.

Restrictions:

Two folders comprised of Rosa Esman Gallery legal files, 1989-1991, in Box 15 are access restricted. Contact Reference Services for more information. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing born-digital records in this collection must use access copies. Contact References 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.

Topic:

Women art dealers  Search this

Pop art  Search this

Art, Russian -- 20th century  Search this

Outsider art  Search this

Function:

Art galleries, Commercial -- New York (State)

Citation:

Rosa Esman Gallery and Tanglewood Press Inc records, circa 1922-2014. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.rosaesmg

See more items in:

Rosa Esman Gallery and Tanglewood Press Inc. records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90b5afc25-4ac5-4700-9d90-a03c3ac29007

EDAN-URL:

ead_collection:sova-aaa-rosaesmg