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C. Adolph Glassgold to Myron Lechay.

Creator:
Glassgold, C. Adolph, 1899-  Search this
Lechay, Myron, 1898-1972  Search this
Glassgold, C. Adolph, 1899-  Search this
Type:
Correspondence
Date:
1932 June 20
Record number:
(DSI-AAA)6370
See more items in:
James Lechay papers, 1928-1994
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_6370
Online Media:

Stuart Davis to Myron Lechay.

Creator:
Davis, Stuart, 1892-1964  Search this
Lechay, Myron, 1898-1972  Search this
Davis, Stuart, 1892-1964  Search this
Type:
Correspondence
Date:
1928 June 12
Record number:
(DSI-AAA)6371
See more items in:
James Lechay papers, 1928-1994
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_6371
Online Media:

Oral history interview with James Lechay, 1998 July 9-Aug. 26

Interviewee:
Lechay, James, 1907-2001  Search this
Lechay, James, 1907-2001  Search this
Interviewer:
Brown, Robert F  Search this
Subject:
Gorky, Arshile  Search this
Hartley, Marsden  Search this
Lechay, Myron  Search this
Margules, De Hirsh  Search this
Pollock, Jackson  Search this
Siqueiros, David Alfaro  Search this
Stieglitz, Alfred  Search this
Weber, Max  Search this
Type:
Sound recordings
Interviews
Topic:
Painters -- Massachusetts -- Wellfleet -- Interviews  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Record number:
(DSI-AAA_CollID)11743
(DSI-AAA_SIRISBib)216379
AAA_collcode_lechay98
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_216379
Online Media:

James Lechay papers, 1928-1994

Creator:
Lechay, James, 1907-2001  Search this
Lechay, James, 1907-2001  Search this
Subject:
Lechay, Myron  Search this
Type:
Sound recordings
Interviews
Topic:
Painting -- Study and teaching  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)11158
(DSI-AAA_SIRISBib)249623
AAA_collcode_lechjame
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_249623

De Hirsh Margules papers, 1888-2001, bulk 1923-1965

Creator:
Margules, De Hirsh, 1899-1965  Search this
Margules, De Hirsh, 1899-1965  Search this
Subject:
Weber, David A.  Search this
Stieglitz, Alfred  Search this
Beaudoin, Kenneth Lawrence  Search this
Connick, Charles J.  Search this
Eilshemius, Louis M. (Louis Michel)  Search this
Frankel, Aaron  Search this
Fuller, R. Buckminster (Richard Buckminster)  Search this
Gillespie, Al Lincoln, Jr.  Search this
Gilman, Esther  Search this
Grady, James  Search this
Higgins, Dick  Search this
Horblit, Harrison D.  Search this
Horblit, Jean  Search this
Jensen, Alfred  Search this
Kolin, Sacha  Search this
King, Alex  Search this
Lehman, Herbert H. (Herbert Henry)  Search this
Lechay, Myron  Search this
Mandel, Marieli Kailin  Search this
Lindsay, John V.  Search this
Margules, Blanche London  Search this
Miller, Henry  Search this
Marin, John  Search this
O'Brien, Lawrence F.  Search this
Schnitzler, Max  Search this
Worcester Art Museum  Search this
Brooklyn Museum  Search this
Walker Art Center  Search this
Babcock Galleries  Search this
Buffalo Fine Arts Academy  Search this
Feigl Gallery  Search this
Ferargil Galleries  Search this
Whitney Museum of American Art  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Museum of Fine Arts, Boston  Search this
Niveau Gallery (New York, N.Y.)  Search this
Solomon R. Guggenheim Museum  Search this
Type:
Writings
Photographs
Notebooks
Sketchbooks
Sound recordings
Poems
Scrapbooks
Oil paintings
Collages
Topic:
Painters -- New York (State) -- New York  Search this
Poets -- New York (State) -- New York  Search this
Works of art  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)13438
(DSI-AAA_SIRISBib)260522
AAA_collcode_margde
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_260522
Online Media:

De Hirsh Margules papers

Creator:
Margules, De Hirsh, 1899-1965  Search this
Names:
Babcock Galleries  Search this
Brooklyn Museum  Search this
Buffalo Fine Arts Academy  Search this
Feigl Gallery  Search this
Ferargil Galleries  Search this
Museum of Fine Arts, Boston  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Niveau Gallery (New York, N.Y.)  Search this
Solomon R. Guggenheim Museum  Search this
Walker Art Center  Search this
Whitney Museum of American Art  Search this
Worcester Art Museum  Search this
Beaudoin, Kenneth Lawrence, 1913-  Search this
Connick, Charles J., 1875-1945  Search this
Eilshemius, Louis M. (Louis Michel), 1864-1941  Search this
Frankel, Aaron  Search this
Fuller, R. Buckminster (Richard Buckminster), 1895-  Search this
Gillespie, Al Lincoln, Jr.  Search this
Gilman, Esther  Search this
Grady, James  Search this
Higgins, Dick, 1938-  Search this
Horblit, Harrison D.  Search this
Horblit, Jean  Search this
Jensen, Alfred, 1903-1981  Search this
King, Alex  Search this
Kolin, Sacha, 1911-1981  Search this
Lechay, Myron, 1898-1972  Search this
Lehman, Herbert H. (Herbert Henry), 1878-1963  Search this
Lindsay, John V.  Search this
Mandel, Marieli Kailin  Search this
Margules, Blanche London  Search this
Marin, John, 1870-1953  Search this
Miller, Henry, 1891-  Search this
O'Brien, Lawrence F.  Search this
Schnitzler, Max, 1903-  Search this
Stieglitz, Alfred, 1864-1946  Search this
Weber, David A.  Search this
Extent:
5.5 Linear feet
Type:
Collection descriptions
Archival materials
Writings
Photographs
Notebooks
Sketchbooks
Sound recordings
Poems
Scrapbooks
Oil paintings
Collages
Date:
1888-2001
bulk 1923-1965
Summary:
The papers of painter De Hirsh Margules measure 5.5 linear feet and date from 1888-2001, with the bulk dating from 1923-1965. The papers contain biographical material, and business and personal correspondence, including letters from Alfred Stiegliz, John Marin, Henry Miller, Max Schnitzler, Charles J. Connick, Louis M. Eilshemius, Alex King, and Myron Lechay. Also found are writings, printed material, scrapbooks, photographs, works of art and audio recordings documenting Margules' personal life and professional career.
Scope and Content Note:
The papers of painter De Hirsh Margules measure 5.5 linear feet and date from 1888-2001, with the bulk dating from 1923-1965. The papers contain biographical material, and business and personal correspondence, including letters from Alfred Stiegliz, John Marin, Henry Miller, Max Schnitzler, Charles J. Connick, Louis M. Eilshemius, Alex King, and Myron Lechay. Also found are writings, printed material, scrapbooks, photographs, works of art and audio recordings documenting Margules' personal life and professional career.

Biographical material consists of Margules' curriculum vitae, address books, war ration books, press credentials, passports, naturalization documents, membership and social security cards, and memorial material on De Hirsh and Blanche Margules.

Correspondence of De Hirsh Margules covers both personal and business matters. Family correspondents include his wife Blanche London, her parents, De Hirsh's mother Rosa and his sister Sam. There is correspondence with Jean and Harrison Horblit, friends and business associates of the Margules, as well as correspondence with his girlfriend, Marieli Kailin Mandel. Other correspondents include Alfred Stieglitz, John Marin, Henry Miller, Max Schnitzler, Charles J. Connick, Louis M. Eilshemius, Alex King, Myron Lechay, and two letters from New York Governor Herbert H. Lehman. There are single letters from Sasha Kolin; New York City Mayor John V. Lindsay; Lawrence F. O'Brien, special assistant to President John F. Kennedy; Buckminster Fuller. This last letter was not addressed exclusively to Margules. Other personal correspondence includes letters, postcards and greeting cards from family members and friends. Other business correspondents include galleries and museums such as Babcock Galleries, Museum of Modern Art, Whitney Museum of American Art, Niveau Gallery, Museum of Fine Arts Boston, Brooklyn Museum, Buffalo Fine Arts Academy, Ferargil Gallery, Feigl Gallery, Guggenheim Museum, Worcester Art Museum and Walker Art Center.

Writings consist mostly of poems by De Hirsh Margules, sometimes appearing in multiple draft forms, as well as a longer work titled "Mulberry Bend." Also included within the series are notebooks filled with poems and works of prose, the latter expounding upon his theories and ideas. Writings by other authors range from poetry to works of prose, criticism and biography, including A. Lincoln Gillespie, Jr., Kenneth Lawrence Beaudoin, David Weber, Aaron Frankel, James Grady, Dick Higgins, and Esther Gilman, among others. There are three illustrated writings by Alfred Jensen. Audio recordings contain a sound tape reel of De Hirsh Margules reciting his poems Rainbow and Mulberry Bend.

Printed material includes newspaper and magazine clippings, press releases, exhibition announcements, catalogues and books. Scrapbooks include printed material, newspaper and magazine clippings, and exhibition announcements on the career of De Hirsh Margules. Also included are two scrapbooks by Blanche London Margules, representing newspaper clippings of her writing, among others.

Works of Art include an oil painting on wood and sketchbooks by Margules. Also included are six collages in a series by Kenneth Lawrence Beaudoin titled "Eye Poems"; and text-based drawings/writings by A. Lincoln Gillespie, Jr.

Photographs, transparencies and slides include works of art by De Hirsh and Blanche London Margules. Also included are personal photographs of the Margules', their friends, family and students, and two folders of photographs of Marieli Kailin Mandel.
Arrangement:
The De Hirsh Margules papers are organized into 8 series:

Series 1: Biographical Material, 1888-1978, undated (Box 1, 6; 0.2 linear feet)

Series 2: Correspondence, 1923-2000, undated (Box 1-3; 2.8 linear feet)

Series 3: Writings, 1936-1965, undated (Box 4; 1.0 linear feet)

Series 4: Printed Material, 1933-2001, undated (Box 5; 0.2 linear feet)

Series 5: Scrapbooks, 1922-1957, undated (Box 5, 7; 0.2 linear feet)

Series 6: Photographs, 1926-1992, undated (Box 5, 7; 0.8 linear feet)

Series 7: Works of Art, 1948, undated (Box 6, 7; 0.4 linear feet)

Series 8: Audio Recordings, undated (Box 6; 1 folder)
Biographical Note:
De Hirsh Margules (1899-1965) was a painter in New York, NY. Margules was born in Jasse, Romania and arrived in New York City at only ten months of age. His parents were in the Yiddish Theater; his father, Edouard was a playwright/director, and his mother, Rosa, was an actress. Margules received much of his art education outside of the conventional art institutional framework. Early on, he studied with Edwin Randby in Pennsylvania from 1917-1918, but it was really his neighbor, the painter Benno Greenstein, who encouraged Margules to pursue a career in the arts. From 1919-1921 he studied period architecture, design and decoration at the New York Evening School of Art and Design.

By 1922, Margules began working nights as a police reporter for the City News Association of New York, a job he would hold until 1942. However, he continued to study and paint during the day, this time working with Myron Lechay.

In 1927 Margules took a leave of absence from the City News Association to travel to Paris. He studied at the Musée du Louvre, and painted landscapes in Montmartre, Paris; Fontenay-près-Vézelay, Burgundy; and Tunis, Africa. In 1929 Margules returned to New York and met artist/dealer Alfred Stieglitz, who quickly became his most trusted friend and advisor. It was through Stieglitz that Margules was introduced to John Marin, Georgia O'Keeffe, Paul Rosenfeld, Stuart Davis and Jan Matulka. While Margules would benefit from his relations with all of these artists, it was John Marin who would become his most important mentor. He felt that Marin was the only one who could help him with the formal problems he was having with painting.

Margules lived most of his life in Greenwich Village and was a well-known member of the colorful and vivacious arts community. He was commonly recognized by his affable demeanor, but mostly it was his attire, particularly the dark blue beret that he was rarely seen without. To his friends he was known simply as "the Baron."

De Hirsh Margules has been called an abstract realist. He used saturated colors and bold textures in the construction of his abstract landscapes, but more specifically it was his interest in the concept of "time painting" or "time perspective" that propelled his work. It was through the physical rendering and representation of his subject matter that he explored the psychological concepts of time. From 1936-1937 Margules established "Another Place," an exhibition space set up in his New York City apartment at 43 West 8th Street. Over a two year period there were fourteen solo-exhibitions by Margules and other artists.

He taught painting in 1951 at Ball State College in Muncie, Indiana, and at the New York Equity Workshop in 1952. In 1951 Elaine de Kooning wrote a piece about his working methods in the December edition of Art News.

De Hirsh Margules died from a heart attack in 1965. He was 65 years old.
Provenance:
The papers were donated to the Archives in 2005 by Elita Agee.
Restrictions:
The De Hirsh Margules papers are 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:
Painters -- New York (State) -- New York  Search this
Poets -- New York (State) -- New York  Search this
Works of art  Search this
Genre/Form:
Writings
Photographs
Notebooks
Sketchbooks
Sound recordings
Poems
Scrapbooks
Oil paintings
Collages
Citation:
De Hirsh Margules papers, 1888-2001, bulk 1923-1965. Archives of America Art, Smithsonian Institution.
Identifier:
AAA.margde
See more items in:
De Hirsh Margules papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-margde

L-Le

Collection Creator:
O'Connor, Francis V.  Search this
Container:
Box 5, Folder 119
Type:
Archival materials
Date:
circa 1967
Scope and Contents:
Forms for the following artists: Lacey, Dorothy; Lances, Leo; Lane, Harry; Lane, Rosalia; Laning, Edward; Lansford, Alonzo M.; Laredo, Victory; Larsen, Peter; Larzelere, Fanchon; Lauro, Joseph; Lawler, Paul; Lawrence, William; Lawson, Ernest; Lazzari, Pietro; Leaf, Reuben; Lebduska, Lawrence; Leboit, Joseph; Lebreitstein, Alice; Lechay, James; Lechay, Myron; Le Fevere, Jules Z.; Lemberg, Gertrude; Lenbach, Joseph; Lenhard, Josef; Lenhard, Walmsley; Lessing, Charles; Lever, Hayley; Levine, Morris J.; Levinson, Abraham F.; Levinson, Benjamin; Levow, Irving; Levy, Martha; Lewis, Golda (Oleniker, Sahny); Lewis, Monty
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings and electronic media with no duplicate access copy requires advance notice. The Artists' Questionanaires require permission from each artist before publishing, quoting, or reproducing. Contact Reference Services for more information.
Collection Rights:
Artists' questionnaires: Authorization to publish, quote, or reproduce requires written permission from the individual artist. The donor has retained all intellectual property rights, including copyright, that they may own. Contact Reference Services for more information.
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:
Francis V. O'Connor papers, 1920-2009. Archives of American Art, Smithsonian Institution.
See more items in:
Francis V. O'Connor papers
Francis V. O'Connor papers / Series 1: NCFA Library / 1.3: GSA Artists' Employment History Records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-oconfran-ref37

Lechay, Myron

Collection Creator:
Robert Schoelkopf Gallery  Search this
Container:
Box 12
Type:
Archival materials
Collection Restrictions:
The collection is open for research. Use requires an appointment.
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:
Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.
See more items in:
Robert Schoelkopf Gallery records
Robert Schoelkopf Gallery records / Series 1: Artist Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-robeschg-ref417

Artist Files

Collection Creator:
Robert Schoelkopf Gallery  Search this
Extent:
(boxes 1-23, 23 linear ft.)
Type:
Archival materials
Date:
1851-1991, undated
Scope and Contents note:
This series forms the core of the collection and comprises files relating to more than three hundred artists whose work the gallery represented or handled at some point. The main types of material that can be found here include correspondence with artists and clients interested in borrowing, consigning, or purchasing their work; printed material documenting exhibitions of individual artists at the Robert Schoelkopf Gallery and related events; general reference material about gallery artists; photographic images of works of art dealt with by the gallery; and photographs of artists. Items of particular interest are noted in parentheses after the folder title.

Individual artists are represented by groups of material ranging from a single file to several linear feet of files, depending on the gallery's level of involvement with their work. Groups of files of particular interest are described in greater detail below. A list of all known group and one-person exhibitions held at the gallery is provided as an appendix and can be used to identify the dates of exhibitions for specific artists.

Relations with many of the gallery's contemporary artists are particularly well documented in this series. The gallery's interest in figurative painting that incorporated elements of allegory, myth, fantasy, and dreams is evinced in files relating to artists such as Milet Andrejevic, Bruno Civitico, Martha Mayer Erlebacher, and David Ligare. Gabriel Laderman, another artist who worked extensively with allegorical themes, is also well represented in this series, and of particular interest are his letters describing his experiences living and working in Malaysia. Correspondence files relating to the painter Caren Canier contain personal letters from the artist that detail her attitude to her work and her relationships with her husband, artist Langdon Quin, and their two children. Paul Wiesenfeld, a realist painter who specialized in portraits and finely detailed interiors, also wrote to the gallery from Germany disclosing aspects of his personal life that affected his work. Correspondence with sculptor Isabel McIlvain contains detailed explanations by the artist of her attitudes to her work and her sculpting methods. McIlvain's files also chronicle her commission to produce a sculpture of John F. Kennedy that was unveiled in Boston in 1990.

Files relating to William Bailey record many aspects of his relationship with the Schoelkopfs. Correspondence files primarily comprise letters to and from clients interested in Bailey's work but are interspersed with correspondence with Bailey and his wife that often details personal aspects of their lives as well as providing insight into Bailey's artistic development and his experiences living in Italy, where he and his family resided much of the time. Consignments and sales of Bailey's work are well documented here, as is the gallery's role in the compilation and publication of three books about the artist. An extensive collection of news clippings records various stages of his career and the growth of his commercial success.

Two substantial groups of files document the gallery's representation of painter Louisa Matthiasdottir and her husband, Leland Bell. Correspondence with Bell includes mention of his time spent in Europe and his teaching experiences, and reveals his sardonic wit.

Several files of correspondence with Miyako Ito offer rich insight into a short period during the artist's life. The bulk of the material comprises letters written by Ito to Robert Schoelkopf in 1960 and 1961, occasionally on a daily basis and often of a very poetic and deeply reflective and emotional nature.

Folders relating to Joseph Cornell contain some correspondence with the artist that offers insight into his personality. They also record Schoelkopf's bid, albeit in vain, to represent the artist's estate following his death in 1972 and the gallery's commitment to Cornell through continued consignment of his work.

Files concerning Manierre Dawson document the gallery's representation of the artist's estate and arrangements for the first one-person exhibition of his paintings in New York only a few months before his death in the summer of 1969. The files include correspondence with Dawson in which he discusses preparations for the exhibition, supplies information concerning dates and locations of his paintings, and expresses concerns about his illness. Letters from Dawson's wife, Lillian, written immediately after his death, can also be found here as well as several marked-up copies of the catalog for the 1969 exhibition that includes an introduction written by the artist. The Dawson files document the activities of the partnership formed by Frank J. McKeown, Jr., Dr. Lewis Obi, and Lefferts L. Mabie, Jr., to purchase paintings from the Dawson estate and provide details of how the partnership worked with Schoelkopf as the sole gallery agency for Dawson's paintings. The files also record the distribution of loans and gifts from the partnership to various art institutions.

More than two feet of records offer detailed coverage of Robert Schoelkopf's interest in Gaston Lachaise and his involvement in the administration of the Lachaise Foundation. Correspondence files chronicle relations among Schoelkopf, John B. Pierce, Jr. (trustee of the foundation), and Felix Landau and record decisions taken regarding publications about the artist, policies for casting and limiting editions of his sculpture, and strategies for promoting Lachaise through exhibitions. The traveling exhibition that opened in September 1967 and was still circulating in 1991 is well documented here, as are other practical concerns such as maintaining accounting and storage records of the artist's work.

Files relating to Ethel Myers include correspondence with the artist's daughter, Virginia Downes, and document Schoelkopf's handling of Myers's estate and his involvement in exhibitions to promote her work. The files include one undated letter and one copy of a letter from Myers to Downes, dated 1941, and a copy of a letter from Henry McBride to Myers from 1913. Copies of autobiographical notes written by Myers about her childhood, artists she knew, her marriage to Jerome Myers, and the outbreak of war in Europe can also be found here.

Several files document the appointment and activities of Robert Schoelkopf and Felix Landau as exclusive agents for the sale of works of art from the estate of Elie Nadelman.

A substantial group of files relating to Joseph Stella chronicle Schoelkopf's involvement with Michael and Sergio Stella, trustees of Joseph Stella's estate, and his representation of the estate from 1963 until 1971, when he withdrew from the position following a dispute over commissions. The gallery continued to consign work from the Stella estate until 1991, and these files contain details of those consignments and reflect Schoelkopf's lifelong commitment to promoting Stella's work.

Files relating to John Henry Bradley Storrs document Schoelkopf's relationship with the artist's daughter, Monique Storrs Booz, who designated Schoelkopf as the new agent for works of art from her father's estate when her contract with the Downtown Gallery was terminated in 1969. Schoelkopf continued to represent Storrs's work when Monique Storrs Booz died in 1985, leaving the estate in the hands of two of the artist's grandchildren. Details of the gallery's relationship with Noel Frackman, who conducted important research on Storrs, can also be found here. Of additional interest are two sets of photographs attributed to John Storrs: a group of eleven platinum prints (apparently there were originally thirteen), primarily portraits of children, and a group of twenty-seven silver gelatin prints of rural and coastal scenes.

Another significant component of this series is the number of files documenting the gallery's relationship with various contemporary photographers. Files of correspondence concerning Brassaï contain substantial correspondence with the photographer himself, who frequently wrote to the gallery in French. Records relating to Walker Evans detail Evans's consignments to the gallery and include some letters from him of a more personal nature, such as one describing his observations during a trip to London in 1966. Photographer Giséle è wrote regularly to the gallery, and her letters include detailed descriptions of the processes she employed in printing her work.

Correspondence relating to Julia Margaret Cameron contains several items of interest including a letter from Cameron dated August 10, 1873, to a Mrs. Way concerning photographs of Way's daughter, and an article on Cameron by Charles Harvard with notes containing biographical details about the photographer.

Within its artist files the gallery retained a group of files marked "Miscellaneous." These files contain small amounts of material, often only one or two pieces, relating to various artists for whom an individual file was not maintained or who were unidentified. These records are placed at the end of the alphabetical files and contain primarily copy prints, transparencies, and slide transparencies. Material is arranged alphabetically by name of artist, with records relating to unidentified artists placed at the beginning. To retain the alphabetical arrangement various media formats are filed together and dated material is interfiled with undated material, which forms the bulk of the contents.

The gallery tended to group various types of paper records together with correspondence in a single file. The term "correspondence" in this series, therefore, refers not only to incoming and outgoing letters but also to accounting and consignment records, reports (such as inventory lists), artists' résumés, exhibition lists, price lists, and other miscellaneous notes. In cases where a certain type of "correspondence" was originally filed separately from other material of this kind, and represents a significant amount of material, that material is filed in a separate folder (e.g., Accounting and Consignment Records).

Generally, arrangement of photographs in this series follows the system outlined under Organization and Arrangement, with some notable exceptions. Photographs of works of art by Gaston Lachaise and Elie Nadelman were originally arranged in a numbering system that is fairly consistent, and this basic original order has been retained. Also, for large groups of photographs of works of art, such as those by Gaston Lachaise, Joseph Stella, and John Henry Bradley Storrs, the gallery filed photographs by media in which the work of art was created; such delineations are reflected in the final arrangement.

The gallery maintained a collection of negatives, primarily of works of art by artists found in Series 1: Artist Files, in addition to other artists not represented there. There is also a small number of negatives of installation shots. The negatives are arranged alphabetically by artist name, with unknown artists at the beginning, and are stored, for preservation reasons, in containers separate from other records in the series. Negative numbers found on the original sleeves have been transcribed onto the paper enclosures now housing the negatives, so that they may be matched to prints in Series 1: Artist Files, in cases where prints exist. An appendix provides an alphabetical list of artists whose work is represented in the negative collection. In some cases, names of artists are incomplete because of insufficient information on the original negative sleeves.

See Appendix A for a list of artists represented in the negatives of works of art found in Series 1.
Appendix A: Artists Represented in Negatives of Works of Art:
Albright, Ivan

[Allston]

Anderson, Lennart

Andrejevic, Milet

Anshutz, Thomas Pollock

Aponovich, James

Bailey, William

Ballaine, G.

Balthus

Barye

Bazelon, Cecile Gray

Beauchamp

Beckwith

Bell, E.

Bell, Leland

Bellows, George

Benton, Thomas Hart

Bernard

Birch, Thomas

[Blauvelk]

Bluemner, Oscar

Blythe, David Gilmour

Bolles, Jesse H.

Bouvier, August

Bradford, William

Branchard, Emile Pierre

Brassaï

Bratby, John

Breckenridge, Hugh H.

Bricher, A. T.

Brook, Alexander

Brown, John George

Burchfield, Charles

Burra, Edward

Carles, Arthur B.

Carlsen

Cartier-Bresson, Henri

Charkow, Natalie

Chase, William Merritt

Chiriani, Richard

Civitico, Bruno

Clark, Alson Skinner

Codman, Charles

Cohen, Frederick

Cole, Thomas

Coleman, Glenn O.

Conrad, Kramer

Cornell, Joseph

Cropsey, Jasper Francis

Currier, [J. Frank]

Dallman, Daniel

Dalou, Jules

Dasburg, Andrew

Daugherty, James Henry

[Davidson]

Davidson, Jo

Davies, Arthur B.

Davis, Stuart

Dawson, Manierre

Degas, Edgar

De Kooning, Willem

Demuth, Charles

Dewing, Thomas Wilmer

Dickinson, Preston

Diederich, William Hunt

[Dix, Otto]

Du Bois, Guy Péne

Duchamp, Marcel

Duveneck, Frank

Eaton

Edmonson, Will

[Eilshemius]

Epstein, [Sir Jacob]

Erlebacher, Martha Mayer

Evans, Walker

Fellini

Fisher, M.

Fiske, Gertrude

Flannagan, John Bernard

Forbes, Charles

Frazier, John Robinson

Freckelton, Sondra

Frieseke, Frederick C.

Gallatin, A. E.

Gay, Walter

Gifford, R. Swain

Gifford, Sanford Robinson

Gignoux, R.

Glackens, William J.

Gleizes, Albers

Goodnough, Robert

Goodwin, Arthur Clifton

Gorky, Arshile

Gorsline

Graham, John

Graham, William

Grant

Grausman, Philip

Graves, Morris

Groz

Guglielmi, Louis

Guillaume

Halsall

Han, Raymond

Hardy, DeWitt

Hart, William

Hartley, Marsden

Hartman, Bertram C.

Harvey, Anne

Hatke, Walter

Hawthorne, Charles Webster

Heade, Martin Johnson

Henri, Robert

Hill, T.

Hirst, Claude R.

Hitchcock

Hohwiller, L. M.

Hopper, Edward

Horton, William S.

Johnson, David

Johnson, Eastman

Johnson, Lester

Jones, Bern

Kane, John

Karfunkle, David

Kelly, L.

Kensett, John Frederick

Klee, Paul

Klimt, Gustav

Kline, Franz

Knaths, Karl

[Kresch]

Kruger, Louise

Kuhn, Walt

Kuniyoshi, Yasuo

Lachaise, Gaston

Laderman, Gabriel

Lawrence, Jacob

Lawson, Ernest

Lechay, Myron

Leibowitz, Leonard

Leutz

Levinson, Abraham F.

Ligare, David

Lipchitz

Luks, George

MacDonald-Wright, Stanton

MacMonnies, Frederick William

Manolo

Manship, Paul

Manzu

Marin, John

Martin, Homer D.

Matthiasdottir, Louisa

Matulka, Jan

Maurer, Alfred Henry

McFee Henry

McIlvain, Isabel

Melchers

Metcalf, Willard Leroy

Mills

[Morandi, Giovanni]

Muybridge, Eadweard

Müller, Jan

Muller, Lisa

Myers, Jerome

Nadelman, Elie

Nakian, Reuben

Nevelson, Louise

Newman, A. L.

Nick, George Bentley

Of, George F.

O'Keeffe, Georgia

Orozco, José Clemente

Peterson, Jane

Peto, John Frederick

Pfreim, Bernard

Picasso, Pablo

Piccolo, Richard

Pollet, Joseph

Pollock, Jackson

Poor, H.

Powers, Hiram

Prendergast, Maurice Brazil

Price

Prior, William Matthew

Quin, Langdon

Raiselis, Richard

Ream, C. P.

Reid, Robert

Richards, William Trost

Rimmer, William

Robinson, T. W.

Rodin, Auguste

Romero, Orozco

Rummelspacher

Russell, Morgan

Ryan, Richard

[Ryder, Albert Pinkham]

Saint-Gaudens, Augustus

Salemme, Antonio

Salemme, Attilio

Sargent, John Singer

Schamberg, Morton L.

Schiele, Egon

Schmidt, Edward

Schultz, E. N.

Scott, J. W. A.

Shahn, Ben

Shaw, Sidney Dale

Sheeler, Charles

Shinn, Everett

Sklarski, Bonnie

Sloan, John

Smith, Hope

Staples, W. L.

Steene

Steichen, Edward

Stella, Joseph

Storrs, John Henry Bradley

Stuart, Frederick, T.

Suba, Miklos

Tamayo, Rufino

Tanguy, Yves

Tanner, Henry Ossawa

Taylor, Henry Fitch

Tillim, Sidney

Touster, Irwin

Turner, Helen

Twachtman, John Henry

Urness, Scott

[V., F.]

Van Beest

Van Everen, Jay

Vedder, Elihu

Vespignani

Vonnoh, Robert William

Walcutt, William

[Wall]

Weber, Max

Weir, Julian Alden

Weiss, George

Whistler, James McNeill

Whittredge, Worthington

Wiesenfeld, Paul

Woking

Wood, Thomas Waterman

Wyant, A. H.

Wyeth, Andrew

Zorach, [William]
Collection Restrictions:
The collection is open for research. Use requires an appointment.
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:
Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.robeschg, Series 1
See more items in:
Robert Schoelkopf Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-robeschg-ref13

General

Collection Creator:
Robert Schoelkopf Gallery  Search this
Container:
Box 12, Folder 19
Type:
Archival materials
Date:
1964-1987
Summary:
(several essays written by Lechay; copy of a letter from Lechay's brother concerning the artist's personality and work)
Collection Restrictions:
The collection is open for research. Use requires an appointment.
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:
Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.
See more items in:
Robert Schoelkopf Gallery records
Robert Schoelkopf Gallery records / Series 1: Artist Files / Lechay, Myron
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-robeschg-ref418

Photographs of Works of Art

Collection Creator:
Robert Schoelkopf Gallery  Search this
Container:
Box 12, Folder 20
Type:
Archival materials
Date:
undated
Collection Restrictions:
The collection is open for research. Use requires an appointment.
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:
Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.
See more items in:
Robert Schoelkopf Gallery records
Robert Schoelkopf Gallery records / Series 1: Artist Files / Lechay, Myron
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-robeschg-ref420

James Lechay papers

Creator:
Lechay, James  Search this
Names:
Lechay, Myron, 1898-1972  Search this
Extent:
4.2 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
1928-1994
Scope and Contents:
Letters; reel-to-reel tape recordings; a transcript of an interview conducted by Sara London, 1994; two scrapbooks, 1936-1947 and 1948-1984; lecture notes including "A Few Notes on Myron Lechay" and other draft writings; photographs of exhibition installations; exhibition catalogs and announcements; magazine and newspaper clippings, and other printed material. Letters from Leonard Bocour, Wilfred P. Cohen, Philip Evergood, Frank Everly, Gerrit Hondius, Antoinette Kraushaar, Yasuo Kuniyoshi, De Hirsh Margules, Salvatore Meo, Max Weber, Sol Wilson, and others; reel-to-reel tape recordings include an interview of Lechay conducted by Karl Fortess, undated, a recording of Lechay, "Cedar Falls, May 1966," and a 1964 recording of Lechay and Irving Marantz, "SIU art exhibition," April 11, 1964. Also included are the papers of Lecahay's brother, painter Myron Lechay (0.2 linear ft.), including letters and postcards,1928-1946, from Valentine Dudensing, C. Adolph Glassgold, Stuart Davis, and others; writings; photographs of Myron Lechay and his works of art; checklists of works of art; catalogs, announcements, press releases, and other printed material; and miscellany.
Biographical / Historical:
Painter; Wellfleet, Mass.; Died 2001; taught at University of Iowa Myron Lechay was James Lechay's brother.
Provenance:
Donated 2005 by Daniel Lechay, son of James Lechay and nephew of Myron Lechay.
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:
Painters -- Massachusetts -- Wellfleet  Search this
Topic:
Painting -- Study and teaching  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.lechjame
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lechjame

Oral history interview with James Lechay

Interviewee:
Lechay, James  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Gorky, Arshile, 1904-1948  Search this
Hartley, Marsden, 1877-1943  Search this
Lechay, Myron, 1898-1972  Search this
Margules, De Hirsh, 1899-1965  Search this
Pollock, Jackson, 1912-1956  Search this
Siqueiros, David Alfaro  Search this
Stieglitz, Alfred, 1864-1946  Search this
Weber, Max, 1881-1961  Search this
Extent:
70 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1998 July 9-Aug. 26
Scope and Contents:
Interview of James Lechay, conducted by Robert F. Brown for the Archives of American Art, Smithsonian Institution at Lechay's home in Wellfleet, Massachusetts, on July 9-Aug. 26, 1998.
Lechay speaks of his early childhood in the Bronx, N.Y.; copying paintings at the Metropolitan Museum under the tutelage of his elder brother Myron; discontinuing his study of psychology at the University of Illinois in 1929 to return to NYC to paint; taking odd jobs to counter his extreme poverty in the early 1930s; his first exhibition at Another Place (1936), a gallery run by De Hirsh Margules; praise from David Siqueiros, the Mexican muralist; his first trip to Provincetown (1930); exhibiting several times at the Whitney Museum (and others) but not at MoMA; touring NYC galleries on Fridays; meeting Marsden Hartley and Alfred Stieglitz; his friendship with Arshile Gorky; serving as a juror for the 1940s Momentum exhibition with Jackson Pollock and Max Weber; teaching at the University of Iowa in 1945, succeeding Philip Guston; his luck in having, since 1935, a New York dealer; his work as self-referential; being repelled by art fashions and not compromising his work in order to sell; the appearance of simplicity in his work. Lechay also recalls Raphael and Moses Soyer, Abraham Walkowitz, and others.
Biographical / Historical:
James Lechay (1907-2001) was a painter from Wellfleet, Mass.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hrs., 17 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:
This transcript is open for research. Access to the entire audio recording is restricted. Contact Reference Services for more information.
Topic:
Painters -- Massachusetts -- Wellfleet -- Interviews  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.lechay98
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lechay98

Head

Artist:
Myron Lechay, born Kiev, Russia (now Kiev, Ukraine) 1898-died New York City 1972  Search this
Medium:
oil on canvas
Dimensions:
30 x 24 7/8 in. (76.2 x 63.2 cm.)
Type:
Painting
Date:
1939
Topic:
Figure female\waist length  Search this
New Deal\Works Progress Administration, Federal Art Project\Louisiana  Search this
Object\furniture\chair  Search this
Credit Line:
Smithsonian American Art Museum, Gift of Dorothy C. Miller
Object number:
1968.116.1
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Painting and Sculpture
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk7550dabde-3190-48dc-9a33-3000145767a3
EDAN-URL:
edanmdm:saam_1968.116.1

Painting no. 3--Courtyard New Orleans

Artist:
Myron Lechay, born Kiev, Russia (now Kiev, Ukraine) 1898-died New York City 1972  Search this
Medium:
oil on linen
Dimensions:
36 x 27 5/8 in. (91.3 x 70.3 cm)
Type:
Painting
Date:
1938
Topic:
Cityscape\Louisiana\New Orleans  Search this
New Deal\Works Progress Administration, Federal Art Project\Louisiana  Search this
Architecture Exterior\other\courtyard  Search this
Credit Line:
Smithsonian American Art Museum, Gift of Dorothy C. Miller
Object number:
1968.116.10
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Painting and Sculpture
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk7293988d9-d5b7-4ae0-a723-c4073acb2caa
EDAN-URL:
edanmdm:saam_1968.116.10

Bourbon Street

Artist:
Myron Lechay, born Kiev, Russia (now Kiev, Ukraine) 1898-died New York City 1972  Search this
Medium:
oil on canvas
Dimensions:
22 x 27 3/4 in. (56.0 x 70.5 cm)
Type:
Painting
Date:
1941
Topic:
New Deal\Works Progress Administration, Federal Art Project\Louisiana  Search this
Credit Line:
Smithsonian American Art Museum, Gift of Dorothy C. Miller
Object number:
1968.116.2
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Painting and Sculpture
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk723d996bf-1931-4098-87cf-fb423c3ae00e
EDAN-URL:
edanmdm:saam_1968.116.2

Street, New Orleans

Artist:
Myron Lechay, born Kiev, Russia (now Kiev, Ukraine) 1898-died New York City 1972  Search this
Medium:
oil on canvas
Dimensions:
20 x 26 in. (50.7 x 66.0 cm.)
Type:
Painting
Date:
1941
Topic:
New Deal\Works Progress Administration, Federal Art Project\Louisiana  Search this
Landscape\Louisiana\New Orleans  Search this
Credit Line:
Smithsonian American Art Museum, Gift of Dorothy C. Miller
Object number:
1968.116.3
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Painting and Sculpture
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk79ce93901-76b6-4776-b79f-b58e3095a406
EDAN-URL:
edanmdm:saam_1968.116.3

Window

Artist:
Myron Lechay, born Kiev, Russia (now Kiev, Ukraine) 1898-died New York City 1972  Search this
Medium:
oil on canvas
Dimensions:
overall: 29 5/8 x 25 5/8 in. (75.3 x 65 cm)
Type:
Painting
Date:
1941
Topic:
New Deal\Works Progress Administration, Federal Art Project\Louisiana  Search this
Object\furniture\chair  Search this
Architecture Interior\detail\window  Search this
Credit Line:
Smithsonian American Art Museum, Gift of Dorothy C. Miller
Object number:
1968.116.4
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Painting and Sculpture
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk7cc6d960f-24a6-4ad5-9dfa-5598cc27354e
EDAN-URL:
edanmdm:saam_1968.116.4

Interior

Artist:
Myron Lechay, born Kiev, Russia (now Kiev, Ukraine) 1898-died New York City 1972  Search this
Medium:
oil on linen
Dimensions:
25 1/2 x 21 3/4 in. (64.7 x 55.1 cm.)
Type:
Painting
Date:
1941
Topic:
New Deal\Works Progress Administration, Federal Art Project\Louisiana  Search this
Architecture Interior\detail\window  Search this
Credit Line:
Smithsonian American Art Museum, Gift of Dorothy C. Miller
Object number:
1968.116.5
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Painting and Sculpture
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk7a0772a39-439e-4ce4-9c00-8ba1010318c7
EDAN-URL:
edanmdm:saam_1968.116.5

Composition--Bourbon Street

Artist:
Myron Lechay, born Kiev, Russia (now Kiev, Ukraine) 1898-died New York City 1972  Search this
Medium:
oil on canvas
Dimensions:
25 x 27 3/4 in. (63.5 x 70.4 cm.)
Type:
Painting
Date:
1941
Topic:
Cityscape\Louisiana\New Orleans  Search this
New Deal\Works Progress Administration, Federal Art Project\Louisiana  Search this
Cityscape\street\Bourbon Street  Search this
Credit Line:
Smithsonian American Art Museum, Gift of Dorothy C. Miller
Object number:
1968.116.6
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Painting and Sculpture
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk7d98f8f6e-6067-4cb1-9e3c-ea9d2b2ac1e4
EDAN-URL:
edanmdm:saam_1968.116.6

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