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Ray Yoshida papers

Creator:
Yoshida, Ray  Search this
Names:
Art Institute of Chicago. School -- Faculty  Search this
Phyllis Kind Gallery  Search this
Berdich, Vera, 1915-2003  Search this
Blackshear, Kathleen, 1897-1988  Search this
Brown, Roger, 1941-1997  Search this
Ito, Miyoko, 1918-1983  Search this
Kapsalis, Thomas Harry, 1925-  Search this
Kim, Jin Soo, 1950-  Search this
Nilsson, Gladys, 1940-  Search this
Nutt, Jim, 1938-  Search this
Ramberg, Christina  Search this
Rossi, Barbara, 1940-  Search this
Spears, Ethel, 1903-1974  Search this
Wirsum, Karl, 1939-  Search this
Extent:
10 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketchbooks
Scrapbooks
Collages
Drawings
Interviews
Prints
Sketches
Transcripts
Video recordings
Date:
circa 1895-2010
bulk 1950-2005
Summary:
The papers of Chicago artist and educator Ray Yoshida measure 10 linear feet and date from circa 1895 to 2010, with the bulk of the material dating from 1950 to 2005. Yoshida's career as a painter and collagist as well as his long tenure as a professor at the School of the Art Institute of Chicago are documented through biographical material, personal correspondence, notebooks and writings, teaching records, personal business records, printed material, source material, photographs, sketchbooks, artwork by Yoshida and others, and scrapbooks. Items within the collection also document Yoshida's personal interest in collecting folk art and artifacts.
Scope and Contents:
The papers of Chicago artist and educator Ray Yoshida measure 10 linear feet and date from circa 1895 to 2010, with the bulk of the material dating from 1950 to 2005. Yoshida's career as a painter and collagist as well as his long tenure as a professor at the School of the Art Institute of Chicago are documented through biographical material, personal correspondence, notebooks and writings, teaching records, personal business records, printed material, source material, photographs, sketchbooks, artwork by Yoshida and others, and scrapbooks. Items within the collection also document Yoshida's personal interest in collecting folk art and artifacts.

Biographical material about Ray Yoshida includes award certificates, identification records, student records, and interview transcripts. Also found is one video recording of a documentary short about Yoshida's art and object collection at his Chicago home.

Correspondence includes letters, postcards, and greeting cards from friends, colleagues, and artists, including Roger Brown, Jim Nutt, Gladys Nilsson, Christina Ramberg, Karl Wirsum, Miyoko Ito, Jin Soo Kim, Barbara Rossi, Vera Berdich, and Tom Kapsalis.

Notebooks contain notes on art history, art technique, Japanese language, travel, and other subjects. Many of the notebooks include sketches and contain loose items.

Writings by Yoshida consist of college papers, fragments of writings on art and other subjects, and notes. Writings by others include essays by Yoshida's students, exhibition essay drafts, and poetry.

Teaching records primarily document Yoshida's tenure as a professor at the School of the Art Institute of Chicago, though a few records of guest professorships at other schools are included. These records include course evaluations, employment records, teaching notes, and letters of recommendation for students. Miscellaneous teaching records include department memos, course summaries, correspondence, and notes.

Personal business records consists of documentation regarding the sale, exhibition, and loan of artwork by Ray Yoshida, including his business dealings with the Phyllis Kind Gallery. Additionally there are several files regarding the estate of artist Roger Brown.

Printed material includes exhibition catalogs, announcements, news clippings, newsletters and press releases documenting Yoshida's career and other subjects.

Source material consists of material that Yoshida gathered and intended to use for his art. Collected printed material includes postcards, comics and comic books, mail order catalogs, magazines, product labels, and advertisements. Also found are many small clippings from comics collected for collages.

Photographs depict Ray Yoshida, friends, students, travel, and artwork. Also found are a few photographs of Karl Wirsum's studio, as well as photographs of various subjects collected by Yoshida. Additionally, there is one photograph album from the early 1910s of an unidentified family.

Sketchbooks include pencil and ink sketches of various subjects.

Artwork by Ray Yoshida includes collages on paper, pencil sketches, and ink drawings. Artworks by others include numerous prints by Kathleen Blackshear, Ethel Spears, and Vivian Mayers, and collages, drawings, and prints given to Yoshida by students and friends. Some work by unidentified artists is included as well. Other artwork, such as handmade picture and alphabet books, appears to have been created by children and collected by Yoshida.

Scrapbooks include volumes that were created by Yoshida as well as books created by others. Three of the scrapbooks containing source images, clippings, and comics appear to have been created by Yoshida. Additional scrapbooks were created by others and collected by Yoshida.
Arrangement:
The collection is arranged as 12 series.

Series 1: Biographical Material, 1950-2005 (0.5 Linear feet; Box 1)

Series 2: Correspondence, 1952-2009 (2 Linear feet; Boxes 1-3, 11, 15)

Series 3: Notebooks, circa 1956-circa 2000 (0.3 Linear feet; Box 3)

Series 4: Writings, circa 1950-2003 (0.3 Linear feet; Box 3)

Series 5: Teaching Records, circa 1960-2003 (0.6 Linear feet; Boxes 3-4)

Series 6: Personal Business Records, circa 1960-2010 (0.4 Linear feet; Box 4)

Series 7: Printed Material, 1906-2010 (1.8 Linear feet; Boxes 4-6, 11, OV 14)

Series 8: Source Material, circa 1940-circa 2005 (0.7 Linear Feet; Boxes 6-7, 11)

Series 9: Photographs, circa 1910-circa 2005 (0.5 Linear feet; Box 7)

Series 10: Sketchbooks, circa 1960-circa 2000 (1.1 Linear feet; Boxes 7-8, 11-13)

Series 11: Artwork, 1903-2009 (0.7 Linear feet; Boxes 8, 13)

Series 12: Scrapbooks, circa 1895-circa 2005 (1 Linear feet; Boxes 8-10, 13)
Biographical / Historical:
Ray Yoshida (1930-2009) was a Japanese American painter, collagist, and educator based in Chicago, Illinois.

Raymond Kakuo Yoshida was born in Kapaa, Hawaii, in 1930. He attended the University of Hawaii for two years and completed a B.A. in Arts Education at the Art Institute of Chicago in 1953. He also served in the U.S. Army for two years during the Korean War. In 1957 he recieved his M.F.A from Syracuse University and became a faculty member at the School of the Art Institute of Chicago in 1959. He was named Frank Harold Sellers Professor in the Department of Painting and Drawing in 1971, retired as professor emeritus in 1998, and continued to teach until 2003.

Yoshida was a member of the Chicago Imagists, a loose and informal group of representational artists from the late 1960s to early 1970s who were influenced by Surrealism and connected to the School of the Art Institute of Chicago. Yoshida's friends and contemporaries among this group include but are not limited to Roger Brown, Ed Paschke, Christina Ramberg, and Barbara Rossi. Yoshida was an inspiring teacher and he mentored many of the later Chicago Imagists such as Gladys Nilsson, Jim Nutt, and Karl Wirsum.

Yoshida's paintings and collages were strongly influenced by comics as well as his own collection of folk and outsider art. He regularly exhibited at Phyllis Kind Gallery in Chicago from 1975 to 1996, and a major retrospective of his work was organized by the Contemporary Museum of Honolulu in 1998. He retired to Hawaii in 2005 where he lived until his death in 2009 due to cancer. The School of the Art Institute of Chicago's Sullivan Galleries held a posthumous retrospective exhibition of Yoshida's work from 2010-2011 and the John Michael Kohler Art Center had an exhibition of Yoshida's personal collection of art and artifacts in 2013.
Provenance:
The collection was donated in 2012 by Ray Yoshida via Terri Yoho of the Kohler Foundation, representing Yoshida's estate, and in 2013 and 2015-2016 by Jennifer Sabas and Shayle Miller, estate executors.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate copy requires advance notice. One box of letters from Jim Nutt are ACCESS RESTRICTED; 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:
Educators -- Illinois -- Chicago  Search this
Painters -- Illinois -- Chicago  Search this
Collagists -- Illinois -- Chicago  Search this
Topic:
Folk art -- Collectors and collecting  Search this
Art -- Study and teaching  Search this
Art -- History  Search this
Art -- Technique  Search this
Artists' studios -- Photographs  Search this
Asian American art  Search this
Asian American artists  Search this
Japanese American art  Search this
Japanese American artists  Search this
Asian American painters  Search this
Asian American educators  Search this
Genre/Form:
Photographs
Sketchbooks
Scrapbooks
Collages
Drawings
Interviews
Prints
Sketches
Transcripts
Video recordings
Citation:
Ray Yoshida papers, circa 1895-2010, bulk 1950-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.yoshray
See more items in:
Ray Yoshida papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-yoshray
Online Media:

Oral History interview with Miyoko Ito

Interviewee:
Ito, Miyoko, 1918-1983  Search this
Interviewer:
Barrie, Dennis  Search this
Names:
Art Institute of Chicago  Search this
Ox-Bow Summer School of Painting  Search this
Smith College  Search this
Baum, Don, 1922-  Search this
Berdich, Vera, 1915-2003  Search this
Chapin, Francis, 1899-1965  Search this
Cohen, George, 1913-1980  Search this
Edmondson, Leonard, 1916-  Search this
Haley, John, 1905-1991  Search this
Hofmann, Hans, 1880-1966  Search this
Johnston, Ynez, 1920-  Search this
Kahn, Max, 1903-2005  Search this
Lanyon, Ellen  Search this
Loran, Erle, 1905-1999  Search this
Mitchell, Joan, 1926-1992  Search this
Moholy-Nagy, László, 1895-1946  Search this
Ryder, Worth, 1884-1960  Search this
Venturi, Lionello, 1885-1961  Search this
Extent:
2 Items (Sound recording: 2 sound files, digital, wav file)
41 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1978 July 20
Scope and Contents:
An interview of Miyoko Ito conducted 1978 July 20, by Dennis Barrie, for the Archives of American Art.
Ito discusses her family background; being in Japan at an early age, attending school and learning calligraphy; returning to California in 1928; excelling in drawing and painting; attending Berkeley High School; studying watercolor at Berkeley School of Water Color; studying under Erle Loran, Worth Ryder, John Haley; the influence of Hans Hofmann; being in internment camp (Camp Rann); attending Smith College, Northampton to study painting under instructor George Cohen; attending the Art Institue of Chicago and meeting Francis Chapin and Joan Mitchell; being influenced by Bonnard; moving into lithography at Oxbow; studying under Max Kahn; doing printmaking and etching; and participating in the Momentum Shows. Ito mentions Ynez Johnston, Leonard Edmondson, Lionel Venturi, Ellen Lanyon, Don Baum, Laszlo Moholy-Nagy, and Vera Berdich.
Biographical / Historical:
Miyoko Ito (1918-1983) was a Japanese American painter based in Chicago, Illinois.
General:
Originally recorded on 1 tape reel (5 in.).
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.
Occupation:
Painters -- Chicago -- Illinois  Search this
Topic:
Art, American  Search this
Japanese American art  Search this
Japanese American artists  Search this
Japanese American women artists  Search this
Asian American art  Search this
Asian American artists  Search this
Asian American women artists  Search this
Japanese American painting  Search this
Japanese Americans -- Evacuation and relocation, 1942-1945  Search this
Asian American painters  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.ito78
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ito78

Oral History interview with Miyoko Ito, 1978 July 20

Interviewee:
Ito, Miyoko, 1918-1983  Search this
Ito, Miyoko, 1918-1983  Search this
Interviewer:
Barrie, Dennis, 1947-  Search this
Subject:
Baum, Don  Search this
Berdich, Vera  Search this
Chapin, Francis  Search this
Cohen, George  Search this
Edmondson, Leonard  Search this
Haley, John  Search this
Hofmann, Hans  Search this
Johnston, Ynez  Search this
Kahn, Max  Search this
Lanyon, Ellen  Search this
Loran, Erle  Search this
Mitchell, Joan  Search this
Moholy-Nagy, László  Search this
Ryder, Worth  Search this
Venturi, Lionello  Search this
Art Institute of Chicago  Search this
Ox-Bow Summer School of Painting  Search this
Smith College  Search this
Type:
Sound recordings
Interviews
Topic:
Art, American  Search this
Japanese American art  Search this
Japanese American artists  Search this
Japanese American women artists  Search this
Asian American art  Search this
Asian American artists  Search this
Asian American women artists  Search this
Japanese American painting  Search this
Japanese Americans -- Evacuation and relocation, 1942-1945  Search this
Asian American painters  Search this
Theme:
Asian American  Search this
Women  Search this
Record number:
(DSI-AAA_CollID)11656
(DSI-AAA_SIRISBib)216579
AAA_collcode_ito78
Theme:
Asian American
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_216579
Online Media:

Oral history interview with Don Baum

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
Identifier:
AAA.baum86
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-baum86

Joseph Randall Shapiro and Jory Shapiro papers

Creator:
Shapiro, Joseph Randall  Search this
Shapiro, Jory  Search this
Names:
Baj, Enrico, 1924-  Search this
Bohrod, Aaron  Search this
Buehr, George Frederick, 1905-1983  Search this
Chagall, Marc, 1887-1985  Search this
Cuevas, José Luis, 1934-  Search this
Golub, Leon, 1922-2004  Search this
Hoff, Margo  Search this
Ito, Miyoko, 1918-1983  Search this
Janis, Sidney, 1896-1989  Search this
Lanyon, Ellen  Search this
Matisse, Pierre, 1900-1989  Search this
Pattison, Abbott L. (Abbott Lawrence), 1916-1999  Search this
Petlin, Irving, 1934-2018  Search this
Rattner, Abraham  Search this
Sage, Kay  Search this
Tanguy, Yves, 1900-1955  Search this
Extent:
0.6 Linear feet ((on 1 microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1943-1985
Scope and Contents:
Letters, scrapbooks, and printed material documenting the development of the Shapiro's art collection. Correspondence, primarily from dealers, museums, art organizations and artists, includes letters from Enrico Baj, Aaron Bohrod (recommending Ben Shahn as a muralist), George Buehr, Jose Luis Cuevas, Leon Golub, Margo Hoff, Miyoko Ito, Sidney Janis, Ellen Lanyon, Pierre Matisse, Ida Meyer-Chagall (discussing her father's work), Abbott Pattison, Irving Petlin, Abraham Rattner, and Kay Sage Tanguy (discussing her husband's work). Printed material consists of 11 exhibition announcements and catalogs (1952-1984), and clippings (1965-1985).
Four scrapbooks (1943-1955) contain clippings, some dealing with the "Art to Live With" program, exhibition catalogs, a letter from Richard Daley (1958), a 3-page typescript "Surrealism Then and Now" by Doris Lane Butler (1958), press releases (1959), and a letter from R. J. Nedved of the Illinois Society of Architects (1967).
Biographical / Historical:
Born 1904. Died 1996. Joseph Shapiro began collecting in 1942 and was drawn to works in the Surrealist tradition. While establishing one of the most important art collections in Chicago, Shapiro and his wife Jory enjoyed personal friendships with artists and used their collection to educate and increase public appreciation of modern art in Chicago. Shapiro was a founder of the Museum of Contemporary Art and served on its board as President from 1967 until 1974.
Provenance:
Material on reel 3759 (fr. 1-320) donated 1986; and material on fr. 323-569 lent for microfilming 1986 all by Joseph R. Shapiro.
Restrictions:
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.
Occupation:
Art patrons  Search this
Topic:
Art, Modern -- 20th century -- Illinois -- Chicago  Search this
Surrealism -- Collectors and collecting  Search this
Art -- Collectors and collecting  Search this
Identifier:
AAA.shapjose
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-shapjose

Robert Schoelkopf Gallery records

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.

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
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Gallery records
Illustrated letters
Photographs
Citation:
Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.robeschg
See more items in:
Robert Schoelkopf Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-robeschg
Online Media:

Oral history interview with Vera Klement

Interviewee:
Klement, Vera, 1929-  Search this
Interviewer:
Silverman, Lanny  Search this
Names:
Artemisia Gallery  Search this
Chicago Art and Artists: Oral History Project  Search this
Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this
University of Chicago -- Faculty  Search this
Adrian, Dennis, 1937-  Search this
Ashton, Dore  Search this
Deson, Marianne  Search this
Ippolito, Angelo  Search this
Ito, Miyoko, 1918-1983  Search this
Kind, Phyllis, 1933-2018  Search this
Rosenberg, Harold, 1906-1978  Search this
Shapey, Ralph, 1921-2002  Search this
Stamos, Theodoros, 1922-1997  Search this
Extent:
3 Items (Sound recording: 3 sound files (3 hr., 24 min.), digital, wav)
140 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2015 June 12 and 14
Scope and Contents:
An interview with Vera Klement conducted 2015 June 12 and 14, by Lanny Silverman, for the Archives of American Art's Chicago Art and Artists: Oral History Project, at Klement's home and studio in Chicago, Illinois.
Klement speaks of her early childhood in Danzig (now, Gdansk, Poland) on the eve of World War II; her family's immigration to New York; her early experiences with music and art; her decision to become a painter; her interactions within New York's art community of the 1950s; the change in New York's art scene after the emergence of Pop art; her move to Chicago and subsequent difficulties in showing her work; her involvement within the Chicago art community; the founding of the women's artist cooperative, Artemisia; her involvement with the women's movement in the 1970s; teaching at the University of Chicago; her conception of her artwork as representational and apolitical; her literary influences; and her distaste for the contemporary art world. Klement also recalls Dennis Adrian, Dore Ashton, Marianne Deson, Angelo Ippolito, Miyoko Ito, Phyllis Kind, Harold Rosenberg, Ralph Shapey, Theodoros Stamos, and others.
Biographical / Historical:
Vera Klement (1929- ) is a painter in Chicago, Illinois. Lanny Silverman (1947- ) is a curator at the Chicago Cultural Center in Chicago, Illinois.
General:
Originally recorded as 3 sound files. Duration is 3 hr., 24 min.
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.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Painters -- Illinois -- Chicago  Search this
Topic:
Art, American -- New York (State) -- New York  Search this
Art, American -- Illinois -- Chicago  Search this
Pop art  Search this
Women artists -- Illinois -- Chicago  Search this
Women's rights  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.klemen15
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-klemen15

Don Baum papers

Creator:
Baum, Don, 1922-  Search this
Names:
Brofsky, Miriam, 1929-  Search this
Davies, Glenn C.  Search this
Edgecomb, Gabrielle  Search this
Gallas, Hans  Search this
Hanson, Philip, 1943-  Search this
Ito, Miyoko, 1918-1983  Search this
Kim, Jin Soo, 1950-  Search this
Leaf, June, 1929-  Search this
Nutt, Jim, 1938-  Search this
Taylor, Sue, 1949-  Search this
Warneke, Ken  Search this
Extent:
6 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Sound recordings
Date:
circa 1940-2004
Scope and Contents:
Files on artwork by Baum, exhibition and loan files, photographs of artwork by others, personal correspondence, and an audio recording.
Files on Baum's artwork, organized chronologically, include photographs and slides of works, as well as titles, dates, locations if known, and occasional printed material and correspondence regarding loans or purchases. Exhibition and loan files are organized chronologically and include printed material and correspondence with the Betsy Rosenfeld Gallery, the Art Institute of Chicago and various Chicago Imagist group shows, among others. Other files include photographs and slides of artwork by other artists.
Personal correspondence includes letters and postcards from Baum's children, and his friends, most of them Chicago artists, including Miriam Brofsky, Glen Davies, Gabrielle Edgecomb, Hans Gallas, Phil Hanson, Miyoko Ito, Jin Soo Kim, June Leaf, Jim Nutt, Barbara Rossi, Darthea Speyer, Sue Taylor, Ken Warneke, Karl Wirsum and others. Many of the letters are illustrated or contain objects. Also included is a radio program about Baum's assemblage houses produced by Wisconsin Public Radio, 1988.
Biographical / Historical:
Don Baum (1922-2008) was a sculptor, assemblage artist, and curator in Chicago, Ill. Baum was considered part of the Hairy Who and the Chicago Imagists.
Provenance:
Donated 1995 by Don Baum and in 2009 by Maria Baum, Don Baum's daughter.
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.
Occupation:
Sculptors -- Illinois -- Chicago  Search this
Topic:
Assemblage (Art)  Search this
Art, Modern -- 20th century -- Illinois -- Chicago  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.baumdon
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-baumdon

Oral history interview with Dennis Adrian

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
Homosexuality  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.adrian15
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-adrian15

William Conger papers

Creator:
Conger, William  Search this
Names:
Roy Boyd Gallery  Search this
De Kooning, Elaine  Search this
Ito, Miyoko, 1918-1983  Search this
Klement, Vera, 1929-  Search this
Leaf, June, 1929-  Search this
Loving, Richard.  Search this
Mallary, Robert, 1917-1997  Search this
Paschke, Ed  Search this
Valerio, James  Search this
Extent:
6.5 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Date:
1950-2018
Scope and Contents:
The william Conger papers measure 6.5 linear feet and date from 1950-2018. Included are correspondence, writings, exhibition and loan files, project files, financial and legal records, photographs, works of art, and printed material and an audio cassette recording regarding William Conger's career as a painter and detailing his business dealings and involvement with Chicago's art community.
Correspondence is with family and friends and also includes letters to Conger from Elaine de Kooning, Robert Mallary, June Leaf, Miyoko Ito, James Valerio, Ed Paschke, Richard Loving, Vera Klement, and others including educators and admirers of Conger's work. Writings include journals, artist's statements, lectures, talks, essays about art written by Conger and reviews. Project files relate to grants, commissions and files on public art. Financial records consist of inventories and appraisals of works of art, lists of paintings, sales invoices and receipts, consignment agreements and inventory and legal documents relating to the Roy Boyd Gallery, Chicago, Illinois.
Photographs are of Conger, his family, friends, events, works of art, and his studio and negatives and slides of early studios and works of art. Works of art include sketches and studies by Conger and drawings by Conger's grandchildren. Printed material consists of exhibition catalogs and announcements, press clippings, and general information on the Chicago art scene (some annotated by Conger). Also included is an audio recording on cassette "Conger, Paschke and Valerio" .
Biographical / Historical:
William Conger (1937- ) is an abstract painter in Chicago, Illinois.
Related Materials:
William Conger papers relating to his years as a faculty member at Northwestern University are located at: Northwestern University Archives.
Provenance:
Donated 2007, 2015 and 2019 by William Conger.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Rights:
Journals: Authorization to quote or reproduce for purposes of publication must be obtained from William Conger
Occupation:
Painters -- Illinois -- Chicago  Search this
Topic:
Art -- Economic aspects  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Drawings
Identifier:
AAA.congwill
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-congwill

Miyoko Ito : mistress of the sea : a survey of early works from the estate of Miyoko Ito (1918-1983) / [essay by Michelle Brandt and Tom McCormick ; edited by Aimee Baldridge]

Title:
Mistress of the sea
Author:
Ito, Miyoko 1918-1983  Search this
Brandt, Michelle  Search this
McCormick, Tom  Search this
Baldridge, Aimee  Search this
Thomas McCormick Gallery  Search this
Subject:
Ito, Miyoko 1918-1983  Search this
Physical description:
33 p. : col. ill., port. ; 28 cm
Type:
Books
Exhibitions
Date:
2000
C2000
Call number:
ND237.I85 A4 2000
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_610281

Miyoko Ito : a review; the Renaissance Society at the University of Chicago, October 5 - November 9, 1980

Author:
Ito, Miyoko 1918-1983  Search this
University of Chicago Renaissance Society  Search this
Subject:
Ito, Miyoko 1918-1983  Search this
Physical description:
24 p. : ill., (some col.) ; 22 x 25 cm
Type:
Books
Exhibitions
Date:
1983
1980
Call number:
ND237.I85 A4 1980
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_679117

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