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Arnold Newman photographs of artists

Creator:
Newman, Arnold, 1918-2006  Search this
Names:
Abercrombie, Gertrude, 1909-1977 -- Photographs  Search this
Albers, Josef -- Photographs  Search this
Albright, Ivan, 1897-1983 -- Photographs  Search this
Avery, Milton, 1885-1965 -- Photographs  Search this
Bacon, Peggy, 1895-1987 -- Photographs  Search this
Baziotes, William, 1912-1963 -- Photographs  Search this
Bemelmans, Ludwig, 1898-1962 -- Photographs  Search this
Blai, Boris, 1893-1985 -- Photographs  Search this
Bloch, Julius T. (Julius Thiengen), 1888-1966 -- Photographs  Search this
Botkin, Henry, 1896-1983 -- Photographs  Search this
Brook, Alexander, 1898-1980 -- Photographs  Search this
Burchfield, Charles Ephraim, 1893-1967 -- Photographs  Search this
Burliuk, David, 1882-1967 -- Photographs  Search this
Calder, Alexander, 1898-1976 -- Photographs  Search this
Castellón, Federico, 1914-1971 -- Photographs  Search this
Cikovsky, Nicolai, 1894- -- Photographs  Search this
Criss, Francis, 1901-1973 -- Photographs  Search this
Davidson, Jo, 1883-1952 -- Photographs  Search this
Davis, Stuart, 1892-1964 -- Photographs  Search this
De Kooning, Willem, 1904-1997  Search this
Evergood, Philip, 1901-1973 -- Photographs  Search this
Feininger, Lyonel, 1871-1956 -- Photographs  Search this
Florsheim, Richard A., 1916-1979 -- Photographs  Search this
Gropper, William, 1897-1977 -- Photographs  Search this
Gross, Chaim, 1904-1991 -- Photographs  Search this
Groth, John, 1908-1988 -- Photographs  Search this
Guglielmi, Louis, 1906-1956 -- Photographs  Search this
Guston, Philip, 1913-1980 -- Photographs  Search this
Gwathmey, Robert, 1903-1988 -- Photographs  Search this
Hare, David, 1917- -- Photographs  Search this
Hirshfield, Morris, 1872-1946 -- Photographs  Search this
Hofmann, Hans, 1880-1966 -- Photographs  Search this
Hopper, Edward, 1882-1967 -- Photographs  Search this
Jenkins, Paul, 1923-2012 -- Photographs  Search this
Jules, Mervin, 1912- -- Photographs  Search this
Kantor, Morris, 1896-1974 -- Photographs  Search this
Kaplan, Joseph, 1900-1980 -- Photographs  Search this
Knaths, Karl, 1891-1971 -- Photographs  Search this
Kroll, Leon, 1884-1974 -- Photographs  Search this
Kuniyoshi, Yasuo, 1889-1953 -- Photographs  Search this
Lassaw, Ibram, 1913- -- Photographs  Search this
Laurent, Robert, 1890-1970 -- Photographs  Search this
Lawrence, Jacob, 1917-2000 -- Photographs  Search this
Levi, Julian E. (Julian Edwin), 1900-1982 -- Photographs  Search this
Levine, Jack, 1915-2010 -- Photographs  Search this
Lipchitz, Jacques, 1891-1973  Search this
Sheeler, Charles, 1883-1965 -- Photographs  Search this
Stella, Joseph, 1877-1946 -- Photographs  Search this
Extent:
0.6 Linear feet ((on 2 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
ca. 1940-1960
Scope and Contents:
Photographs of 47 American artists taken by Newman.
REEL 153: Artists include: Gertrude Abercrombie, Josef Albers, Ivan Albright, Milton Avery, Peggy Bacon, William Baziotes, Ludwig Bemelmans, Boris Blai, Julis Bloch, Harry Botkin, Alexander Brook, Charles Burchfield, David Burliuk, Alexander Calder, Federico Castellon, Nicolai Cikovsky, Francis Criss (2), Jo Davidson, Willem De Kooning, Philip Evergood, Lyonel Feininger, Richard Florsheim, William Gropper, Chaim Gross (2), John Groth, Louis Guglielmi, Philip Guston, Robert Gwathmey, David Hare, Morris Hirshfield, Hans Hofmann, Edward Hopper, Paul Jenkins, Mervin Jules, Morris Kantor, Joseph Kaplan, Karl Knaths, Leon Kroll, Ibram Lassaw, Robert Laurent, Julian Levi, Jack Levine, and Jacques Lipchitz.
REEL 1027: Stuart Davis, Yasuo Kuniyoshi, and Charles Sheeler.
UNMICROFILMED: Jacob Lawrence (2) and Joseph Stella (2).
Biographical / Historical:
Portrait photographer; New York City; b. New York, N.Y., Mar. 3, 1918; d. June 6, 2006, New York, N.Y.
Provenance:
Donated 1961 by Arnold Newman.
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:
Photographers -- New York (State) -- New York  Search this
Topic:
Artists -- United States -- Photographs  Search this
Identifier:
AAA.newmarno
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-newmarno

Hans Namuth photographs and papers

Creator:
Namuth, Hans  Search this
Names:
Exposition universelle et internationale (1958: Brussels, Belgium)  Search this
Jewish Museum (New York, N.Y.)  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Virginia Museum of Fine Arts  Search this
Yale University. School of Art and Architecture  Search this
Adams, Ansel, 1902-1984  Search this
Boynton, Jack, 1928-2010  Search this
Breuer, Marcel, 1902-  Search this
Cage, John, 1912-1992  Search this
Calder, Alexander, 1898-1976 -- Photographs  Search this
Castelli, Leo  Search this
Copland, Aaron, 1900-1990  Search this
Davis, Stuart, 1892-1964  Search this
De Kooning, Willem, 1904-1997  Search this
Fuller, R. Buckminster (Richard Buckminster), 1895-  Search this
Hartigan, Grace  Search this
Hopper, Edward, 1882-1967  Search this
Johns, Jasper, 1930- -- Photographs  Search this
Karpel, Bernard, 1911-1986  Search this
Koch, Kenneth, 1925-  Search this
Krasner, Lee, 1908-1984 -- Photographs  Search this
Mies van der Rohe, Ludwig, 1886-1969  Search this
Navaretta, Cynthia  Search this
Newman, Arnold, 1918-2006  Search this
Noguchi, Isamu, 1904-1988 -- Photographs  Search this
Norman, Dorothy, 1905-1997  Search this
Picasso, Pablo, 1881-1973  Search this
Pollock, Jackson, 1912-1956 -- Photographs  Search this
Rauschenberg, Robert, 1925-2008 -- Photographs  Search this
Rothko, Mark, 1903-1970 -- Photographs  Search this
Shaw, Elizabeth Roberts, 1921-  Search this
Stieglitz, Alfred, 1864-1946  Search this
Wyeth, Andrew, 1917-2009 -- Photographs  Search this
Extent:
4.5 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Photographs
Transcripts
Place:
Massachusetts -- Boston
Date:
1945-1985
Summary:
The papers of New York photographer and filmmaker Hans Namuth measure 4.5 linear feet and date from 1945 to 1985. The bulk of the collection consists of photographs taken by Namuth of New York artists. Also included are papers regarding Namuth's film about Alfred Stieglitz and other professional files.
Scope and Contents:
The papers of New York photographer and filmmaker Hans Namuth measure 4.5 linear feet and date from 1945 to 1985. The bulk of the collection consists of photographs taken by Namuth of New York artists. Also included are papers regarding Namuth's film about Alfred Stieglitz and other professional files.

The first series contains materials related to the planning and production of Namuth's film Alfred Stieglitz, Photographer. Documentation includes articles, correspondence, exhibition materials, grant program request sheets, magazines and catalogs, photo requests, photographs and photographic materials, notes and research, shot lists, script drafts and fragments, interview transcripts, and correspondence. Interviewees include Ansel Adams, Arnold Newman, Aaron Copland, Dorothy Norman, and others.

The second series contains various writings and papers relating to Namuth's professional activities, including Namuth's exhibition at the 1958 Brussels World Fair, business and financial records, papers on The Construction of Boston by Kennth Koch, correspondence, a notebook, and various printed materials. Namuth's correspondence is with James Boynton, Bernard Karpel, the Museum of Modern Art, Cynthia Navaretta, Elizabeth Shaw, the Virginia Museum of Fine Arts, and the Yale University School of Art and Architecture.

Photographs taken by Hans Namuth depict prominent American (primarily New York-based) artists, architects, writers, musicians, and art critics. Artists are shown in their studios or homes, either at work or posing for the camera, and include Alexander Calder, Stuart Davis, Willem de Kooning, Grace Hartigan, Edward Hopper, Jasper Johns, Lee Krasner, Isamu Noguchi, Jackson Pollock, Robert Rauschenberg, Mark Rothko, and Andrew Wyeth, among many others. Photographs of other individuals include Marcel Breuer, John Cage, Leo Castelli, Buckminster Fuller, and Ludwig Mies van der Rohe, and others. Also found are photographs of exhibitions, openings, and art-related events from the 1950s and 1960s, such as a traveling Picasso exhibit and a Robert Rauschenberg opening at the Jewish Museum. Most photographs are black and white, but a few color prints are included.
Arrangement:
This collection is arranged as 3 series.

Series 1: Alfred Stieglitz Film Project, 1945-circa 1981 (Box 1, OV 11; 0.8 linear feet)

Series 2: Professional Files, 1953-1985 (Box 1; 0.3 linear feet)

Series 3: Photographs, 1945-1984 (Box 2-10; 3.4 linear feet)
Biographical / Historical:
Hans Namuth (1915-1990) was a German-American photographer and filmmaker who lived and worked in New York. He was primarily known for his work photographing prominent American artists in the 1950s and 1960s.

Namuth was born in Germany but left for France in 1933 after the rise of the Nazi Party. While in France, he struck up a friendship with fellow German Georg Reisner. From 1935 to 1939, Namuth and Reisner worked together as photographers primarily in Paris. His first works to catch the public's attention came from an assignment in Barcelona that accidentally coincided with the beginning of the Spanish Civil War in 1936. Following a short internment in Nazi-occupied France, Namuth left for the United States.

After taking photography classes with Alexey Brodovitch, art director of Harper's Bazaar, Namuth met Jackson Pollock at an exhibition in 1950 and asked to photograph the artist at work. His subsequent photographs of Pollock raised both artists' profiles. Namuth would spend the next three decades photographing major New York artists, architects, and art-related events for commission and for his own studio. He directed a number of films in collaboration with Paul Falkenberg and published several books of photographs. Namuth died in Long Island in 1990.
Related Materials:
Also at the Archives of American Art is an oral history interview with Hans Namuth, Aug. 12-Sept. 8, 1971. Additional Hans Namuth papers are located at the Center for Creative Photography, University of Arizona.
Provenance:
The collection was donated 1972-1985 by Hans Namuth.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Hans Namuth photographs and papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Musicians -- New York (State) -- New York  Search this
Topic:
Artists -- New York (State) -- New York  Search this
Filmmakers -- New York (State) -- New York  Search this
Art critics -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Photographs
Transcripts
Citation:
Hans Namuth photographs and papers, 1945-1985. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.namuhans
See more items in:
Hans Namuth photographs and papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-namuhans

Oral history interview with Arnold Newman, 1971 July 17-Aug. 23

Interviewee:
Newman, Arnold, 1918-2006  Search this
Interviewer:
Cummings, Paul, 1933-  Search this
Subject:
Brodovitch, Alexey  Search this
Epstein, Jacob, Sir  Search this
Gross, Chaim  Search this
Rose, Ben  Search this
Shahn, Ben  Search this
Type:
Sound recordings
Interviews
Topic:
Photographers -- New York (State) -- New York -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12305
(DSI-AAA_SIRISBib)211906
AAA_collcode_newman71
Theme:
Photography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_211906

Oral history interview with Arnold Newman, 1964 Sept. 1

Interviewee:
Newman, Arnold, 1918-2006  Search this
Interviewer:
Seckler, Dorothy Gees, 1910-1994  Search this
Type:
Sound recordings
Interviews
Topic:
Art, American  Search this
Photographers -- New York (State) -- New York -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12913
(DSI-AAA_SIRISBib)214127
AAA_collcode_newman64
Theme:
Photography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_214127

Arnold Newman photographs of artists, ca. 1940-1960

Creator:
Newman, Arnold, 1918-2006  Search this
Subject:
Abercrombie, Gertrude  Search this
Albers, Josef  Search this
Albright, Ivan  Search this
Avery, Milton  Search this
Bacon, Peggy  Search this
Baziotes, William  Search this
Bemelmans, Ludwig  Search this
Blai, Boris  Search this
Bloch, Julius T. (Julius Thiengen)  Search this
Botkin, Henry  Search this
Brook, Alexander  Search this
Burchfield, Charles Ephraim  Search this
Burliuk, David  Search this
Calder, Alexander  Search this
Castellón, Federico  Search this
Cikovsky, Nicolai  Search this
Criss, Francis  Search this
Davidson, Jo  Search this
Davis, Stuart  Search this
Evergood, Philip  Search this
Feininger, Lyonel  Search this
Florsheim, Richard A.  Search this
Gropper, William  Search this
Gross, Chaim  Search this
Groth, John  Search this
Guglielmi, Louis  Search this
Guston, Philip  Search this
Gwathmey, Robert  Search this
Hare, David  Search this
Hirshfield, Morris  Search this
Hofmann, Hans  Search this
Hopper, Edward  Search this
Jenkins, Paul  Search this
Jules, Mervin  Search this
Kantor, Morris  Search this
Kaplan, Joseph  Search this
Knaths, Karl  Search this
Kroll, Leon  Search this
Kuniyoshi, Yasuo  Search this
Lassaw, Ibram  Search this
Laurent, Robert  Search this
Lawrence, Jacob  Search this
Levi, Julian E. (Julian Edwin)  Search this
Levine, Jack  Search this
Lipchitz, Jacques  Search this
Sheeler, Charles  Search this
Stella, Joseph  Search this
De Kooning, Willem  Search this
Topic:
Artists -- United States -- Photographs  Search this
Record number:
(DSI-AAA_CollID)8084
(DSI-AAA_SIRISBib)210255
AAA_collcode_newmarno
Theme:
Latino and Latin American
Audio - Visual
Photography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210255

Abraham Walkowitz papers

Creator:
Walkowitz, Abraham, 1880-1965  Search this
Names:
Arms, John Taylor, 1887-1953  Search this
Biddle, George, 1885-1973  Search this
Dunaif, George M.  Search this
Duncan, Elizabeth, 1871-1948  Search this
Eliasoph, Paula  Search this
Haldeman-Julius, E. (Emanuel), 1888-1951  Search this
Kleinholz, Frank, 1901-  Search this
Maria-Theresa, 1896-1987  Search this
Olinsky, Ivan G. (Ivan Gregorewitch), 1878-1962  Search this
Pach, Walter, 1883-1958  Search this
Schapiro, Louis  Search this
Stieglitz, Alfred, 1864-1946  Search this
Traubel, Horace, 1858-1919  Search this
Weber, Max, 1881-1961  Search this
Photographer:
Genthe, Arnold, 1869-1942  Search this
Jacobi, Lotte, 1896-  Search this
Newman, Arnold, 1918-2006  Search this
Valente, Alfredo  Search this
Van Vechten, Carl, 1880-1964  Search this
White, Clarence H., 1871-1925  Search this
Extent:
2.9 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Transcripts
Interviews
Date:
1904-1969
Summary:
The papers of painter Abraham Walkowitz date from 1904-1969, and measure 2.9 linear feet. Found within the papers are biographical material; letters from artists, friends, and art collectors; business records; four interview transcripts; notes and writings; exhibition announcements, cataloges, and other printed material; and photographs of Walkowitz, friends, colleagues, and artworks.
Scope and Content Note:
The papers of painter Abraham Walkowitz date from 1904-1969, and measure 2.9 linear feet. Found within the papers are biographical material; letters from artists, friends, and art collectors; business records; four interview transcripts; notes and writings; exhibition announcements, catalogs, and other printed material; and photographs of Walkowitz, friends, colleagues, and artworks.

Biographical material consists of autobiographical notes, a citizenship certificate, membership and registration cards, medical records, and address books.

Letters, with scattered responses from Walkowitz, are primarily from colleagues including artists John Taylor Arms, George Biddle, Paula Eliasoph, Ivan G. Olinsky, Walter Pach, Alfred Stieglitz, Carl Van Vechten, and Max Weber, Boston art collector Louis Schapiro, publisher E. Haldeman-Julius, writer Horace Traubel, and dancers Elizabeth Duncan and Maria-Theresa Duncan, the sister and adopted daughter of Isadora Duncan respectively. Individual letters are primarily from the diverse group of notable people to whom Walkowitz had sent copies of his books. Also found are letters from art organizations and museums.

Business records consist of documents concerning the will of art collector George M. Dunaif, letters of acknowledgement of gifts of art work donated by Walkowitz to various museums, and miscellaneous financial material. Transcripts are of three interviews with Walkowitz and an interview with Walkowitz and Frank Kleinholz. Notes and writings include lists of names, addresses, and art work, miscellaneous lecture notes, and writings by Walkowitz and by others. Printed material consists of clippings, exhibition announcements and catalogs, reproductions of art work, and books by Walkowitz, and by Walkowitz and E. Haldeman-Julius.

The photographs series contains the most significant material in the collection. The majority of photographs are of Abraham Walkowitz, taken by many notable photographers including Arnold Genthe, Lotte Jacobi, Arnold Newman, Alfredo Valente, Carl Van Vechten, and Clarence White. Also found are photographs of friends and colleagues, as well as photographs of art work by Walkowitz and others.
Arrangement:
The collection is arranged as 7 series:

Series 1: Biographical Material 1906-1944 (Box 1, 5; 8 folders)

Series 2: Correspondence, 1906-1966 (Box 1; 0.8 linear feet)

Series 3: Business Records, 1930-1956 (Box 1; 5 folders)

Series 4: Interview Transcripts, 1944-1958 (Box 1; 5 folders)

Series 5: Notes and Writings, 1904-1949 (Box 1-2; 26 folders)

Series 6: Printed Material, 1910-1969 (Box 2, 5; 0.8 linear feet)

Series 7: Photographs, 1904-1958 (Box 2-5; 0.9 linear feet)
Biographical Note:
Abraham Walkowitz (1878-1965) was a painter in Brooklyn, New York. Walkowitz was born in Tumen in Siberian Russia, the son of Jacob and Rita Schulman Walkowitz. Following the death of his father, a lay rabbi and cantor, in the late 1880s, Walkowitz immigrated to the United States with his mother and siblings and settled in the Lower East Side of New York City.

Walkowitz began his study of art at the Educational Alliance, at Cooper Union, and at the National Academy of Design. In early adulthood he worked as a sign painter and taught at the Educational Alliance from 1900 to 1906. He managed to save enough for passage to Paris where he continued his studies at the Académie Julian under Academic painter Jean-Paul Laurens. During this time, Walkowitz met Max Weber who introduced him to Matisse, Picasso, and Gertrude and Leo Stein. They exerted a considerable influence on Walkowitz's artistic development toward abstraction. Weber also introduced him to Isadora Duncan, whose style of improvisational dance inspired Walkowitz to create over 5,000 drawings and watercolors of her dancing form over the next four decades.

Walkowitz returned to New York in 1907 and laid claim to being the first to exhibit truly Modernist paintings in the United States with his exhibition at the Haas Gallery in 1908. After 1909, he became an intimate of Alfred Stieglitz's 291 Gallery where he became a regular exhibitor along with Arthur Dove, Marsden Hartley, and John Marin, among others. Walkowitz's work appeared in landmark avant-garde exhibitions including the 1913 Armory Show, the Forum Exhibition of 1916, the People's Art Guild showings of contemporary art from 1915-1917, and the inaugural show of the Société Anonyme in 1920.

When interest in the Modernist movement diminished during the 1930s, Walkowitz's career also diminished, but he continued as an avid member and officer in the Society of Independent Artists. In the mid-1940s, he explored the varieties of the modernist vision in the form of an exhibition of 100 portraits of Walkowitz by 100 artist colleagues. The result was widely discussed and was featured in Life magazine in 1944. In 1945, Walkowitz travelled to Kansas to reunite with his colleague, E. Haldeman-Julius, to publish in a series of books concerning Walkowitz's art work. He also executed a series of drawings of the barns and strip mines in the area. But by 1946, glaucoma had begun to impair Walkowitz's vision, leading to his eventual blindness. Also in the mid-1940s, Walkowitz lost the contents of his studio to fire.

In 1963, Walkowitz received the Marjory Peabody Award of the National Institute of Arts and Letters. His work is represented in the collections of the Newark Museum, the Whitney Museum of American Art, and the Museum of Fine Arts, Boston.

Abraham Walkowitz died on January 26, 1965 in Brooklyn, New York.
Related Material:
Also found at the Archives of American Art is an oral history interview of Abraham Walkowitz conducted by Abram Lerner and Mary Bartlett Cowdrey, December 8 and 22, 1958.
Provenance:
Portions of the papers were donated in 1959 by Abraham Walkowitz; in 1966 by Dr. Rosa E. Prigosen, the artist's niece; in 1981 through a transfer of material from the National Museum of American Art/National Portrait Gallery Library; and in 1996 by Howard and Lila Schulman.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Abraham Walkowitz papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painters -- New York (State) -- New York  Search this
Painting, American  Search this
Art -- Collectors and collecting  Search this
Genre/Form:
Photographs
Transcripts
Interviews
Citation:
Abraham Walkowitz papers, 1904-1969. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.walkabra
See more items in:
Abraham Walkowitz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-walkabra
Online Media:

Oral history interview with Arnold Newman

Creator:
Newman, Arnold, 1918-2006  Search this
Interviewer:
Seckler, Dorothy Gees, 1910-1994  Search this
Extent:
20 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1964 Sept. 1
Scope and Contents:
An interview of Arnold Newman conducted 1964 Sept. 1, by Dorothy Seckler, for the Archives of American Art.
Biographical / Historical:
Arnold Newman (1918-2006) was a photographer in New York, N.Y.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 4 min.
Provenance:
These interviews are 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.
Rights:
Authorization to publish, quote or reproduce must be obtained from Arnold Newman.
Topic:
Art, American  Search this
Photographers -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.newman64
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-newman64

The Zorach Family papers

Creator:
Zorach Family  Search this
Names:
Art Students League (New York, N.Y.)  Search this
Brooklyn Museum  Search this
Adams, Ansel, 1902-1984  Search this
Cunningham, Imogen, 1883-1976  Search this
Ipcar, Dahlov Zorach, 1917-  Search this
Newman, Arnold, 1918-2006  Search this
Partridge, Roi, 1888-1984  Search this
Zorach, Marguerite, 1887-1968  Search this
Zorach, Tessim  Search this
Zorach, William, 1887-1966  Search this
Extent:
4.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Prints
Articles
Sketchbooks
Photographs
Drawings
Scrapbooks
Notes
Writings
Date:
1900-1987
Summary:
The Zorach Family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.
Scope and Content Note:
The Zorach Family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.

The majority of correspondence is between Tessim Zorach and various museums and galleries concerning exhibitions and donations of his parents' works of art. There are scattered letters to William Zorach among the correspondence. Business records consist of materials relating to the Collection of the Zorach Children, including lists of works of art by the Zorach's, a file relating to an exhibition of Zorach artwork at the Brooklyn Museum, and photographs of works of art considered for donation.

Writings and Notes include a typescript of an article written by Marguerite Zorach, writings by William Zorach, a typescript of Young Poems by William and Marguerite, as well as articles written by others about the Zorachs. Artwork by Marguerite Zorach includes two prints and a tracing. Also found is one sketchbook, and additional drawings by William Zorach. There is one unsigned lithograph.

The majority of exhibition announcements, catalogs, and clippings concern William and Marguerite Zorach although there are two announcements for Dahlov Ipcar. There is one scrapbook of clippings about Marguerite.

The papers include photographs of Marguerite and William Zorach, their parents, baby photos of Tessim and Dahlov, family pictures of the Zorachs, and of Marguerite and William in their studios. There are several folders of William Zorach working in his studios and additional photos of him carving a relief sculpture and a sculpture for the Southwest Bank. Most of these photographs contain detailed annotations written by William Zorach about the work. There is one folder of photographs of William in France in 1910-1911, including one of Zorach in Roi Partridge's studio. There is one photograph of Zorach taken by Ansel Adams in Yosemite, a photo of Zorach working by Arnold Newman, and several taken by Imogen Cunnigham.

Other photographs are of works of art, most of which depict William's works.

Artifacts include Marguerite's batik tools and approximately fifty commercially made printing blocks.
Arrangement:
The collection is arranged into 9 series:

Series 1: Biographical Information, circa 1907-1969 (Box 1, 6; 3 folders)

Series 2: Correspondence, 1922-1982 (Box 1-2; 1.75 linear feet)

Series 3: Business Records, 1967-1971, circa 1960s-1970s (Box 2-3; 0.3 linear feet)

Series 4: Writings and Notes, circa 1930s-1973, 1987 (Box 3; 8 folders)

Series 5: Artworks, 1900-circa 1920s (Box 3, 6; 12 folders)

Series 6: Scrapbooks, 1922-1953 (Box 3; 1 folder)

Series 7: Printed Material, 1912-1982 (Box 3; 0.25 linear feet)

Series 8: Photographs, 1908-1966 (Box 3-5; 1.0 linear feet)

Series 9: Artifacts, circa 1910s, circa 1950s (Box 4; 0.5 linear feet)
Biographical Note:
William Zorach (1887-1966) was a modernist painter and sculptor working primarily in New York city, along with his wife Marguerite (1887-1968) who worked as a fauvist painter, printmaker, and textile artist. Their children were painter Dahlov Ipcar (1917-) and art collector Tessim Zorach (1915-1995.)

Born in Lithuania, William Zorach immigrated to the United States where his family settled in Cleveland, Ohio. An early interest in art led to a printmaking apprenticeship. He then moved to New York City and enrolled in the National Academy of Design where he studied painting and drawing. In 1910, Zorach traveled to Paris to study and where he met his wife Marguerite Thompson at the La Palette art school. Marguerite grew up in Fresno, California and studied art at Stanford University. Both artists were heavily influenced by the fauvist and cubist art movements.

Returning to America, Marguerite and William married and both continued to create and experiment with varied media. Their paintings were featured in the 1913 New York City Armory Show and they are credited with being among the first artists to introduce European modernist styles to American modernism. The Zorachs were very close both as a couple and as working active artists.

In the 1920s, Marguerite began to experiment with textiles and created large, fine art tapestries and hooked rugs. Also, she used batik dying techniques on fabrics. William also expanded his genre by creating direct sculpture in 1918, which would become his primary medium.

In 1915, William and Marguerite started a family with their son, Tessim. Two years later, their daughter Dahlov was born. The Zorachs divided the year and lived in New York City, New Hampshire, and Massachusetts. In 1923, the family bought a farm on Georgetown Island, Maine where they lived, worked, and entertained friends.

Dahlov and Tessim were exposed to art from an early age. Dahlov showed artistic promise as a child and her parents supported her creativity by allowing her to express herself without formal training. Dahlov pursued painting and later became an illustrator for children's books. Additionally, she wrote fantasy novels and short stories. Dahlov married Adolf Ipcar in 1936. Like the rest of his family, Tessim Zorach developed an interest of art and along with his wife Peggy, he amassed a large private collection of ancient to modern art.

William and Marguerite continued to sculpt and paint until their deaths in 1966 and 1968, respectively.

Together, Dahlov and Tessim established the Collection of the Zorach Children which coordinated donations of their parents' art to many museums throughout the United States and the world. The artwork of both artists is found in the collections of the Metropolitan Museum of Art, Brooklyn Museum, Whitney Museum of American Art, Delaware Art Museum, Museum of Fine Arts, Boston, Farnsworth Art Museum, Portland Museum of Art, National Gallery of Art, National Portrait Gallery and the Smithsonian American Art Museum, The Philips Collection, and educational institutions such as Colby College, University of Vermont, Williams College, Bowdoin College, and the University of Virginia. In addition William has works associated with many public buildings, among them: Radio City Music Hall, New York City Municipal Court, the U.S. Post Office in Washington D.C. as well as Farleigh Dickinson University.
Related Material:
The Archives of American Art holds the Dahlov Ipcar papers, 1906-1997. Also found is one oral history interview with William Zorach conducted by by John D. Morse on April 2, 1959 and an oral history interview with Dahlov Ipcar conducted by Robert F. Brown on November 13, 1979.

The bulk of William Zorach's papers are held by the Library of Congress.
Separated Material:
The Archives of American Art also holds material lent for microfilming on reels NY59-1-NY59-4 and NY59-19. Loaned materials were returned to the lender and are now held by the Library of Congress, Manuscript Division. This material is not described in the collection container inventory or finding aid.
Provenance:
William Zorach lent papers for microfilming to the Archives of American Art in 1959. Tessim Zorach donated materials between 1976-1987.
Restrictions:
Use of originals requires an appointment.
Rights:
The Zorach Family papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- Collectors and collecting -- New York (State) -- New York  Search this
Art, American  Search this
Art dealers -- New York (State) -- New York  Search this
Artist couples  Search this
Painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Women painters -- New York (State) -- New York  Search this
Artists' studios -- Photographs  Search this
Weavers  Search this
Works of art  Search this
Genre/Form:
Interviews
Prints
Articles
Sketchbooks
Photographs
Drawings
Scrapbooks
Notes
Writings
Citation:
The Zorach Family papers, 1900-1987. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.zorazora
See more items in:
The Zorach Family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-zorazora

Moses Soyer papers

Creator:
Soyer, Moses, 1899-1974  Search this
Names:
Baskin, Leonard, 1922-2000  Search this
Bishop, Isabel, 1902-1988  Search this
Burliuk, David, 1882-1967  Search this
Cikovsky, Nicolai, 1894-  Search this
Dobkin, Alexander, 1908-  Search this
Evergood, Philip, 1901-1973  Search this
Gross, Chaim, 1904-1991  Search this
Soyer, David, 1928-  Search this
Soyer, Ida  Search this
Soyer, Raphael, 1899-1987  Search this
Photographer:
Newman, Arnold, 1918-2006  Search this
Extent:
3.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Date:
circa 1905-1974
Summary:
The papers of realist painter Moses Soyer date from circa 1905 to 1974 and measure 3.8 linear feet. Within the papers are scattered biographical materials, general correspondence with friends, artists, galleries, art organizations, and others, as well as correspondence with his family, including his son David, writings and notes by Soyer and others, exhibition materials, news clippings, and other printed material, numerous photographs of Soyer, his family, fellow artists, friends and his artwork. Also found are book illustrations and loose sketches by Soyer.
Scope and Content Note:
The papers of realist painter Moses Soyer date from circa 1905 to 1974 and measure 3.8 linear feet. Within the papers are scattered biographical materials, general correspondence with friends, artists, galleries, art organizations, and others, as well as correspondence with his family, including his son David, writings and notes by Soyer and others, exhibition materials, news clippings, and other printed material, numerous photographs of Soyer, his family, fellow artists, friends and his artwork. Also found are book illustrations and loose sketches by Soyer.

Biographical materials include awards, business documents such as records for the loan of his artwork, passports, his marriage certificate, and other official documents. Soyer's 1966 membership to the National Institute of Arts and Letters and several awards from the National Academy of Design are found here as well. Correspondence is with friends and artists such as Leonard Baskin, Isabel Bishop, Alex Dobkin, Philip Evergood, Chaim Gross, and his brother Raphael Soyer, as well as with students, galleries, art organizations, museums, universities, and others. Also found is correspondence with his son David and his grandchildren that include many letters illustrated by Soyer.

Writings and notes include Soyer's draft writings for his book Painting the Human Figure, autobiographical essays, desk diaries, and miscellaneous writings and notes. There are also writings by Ida and David Soyer, artist Philip Evergood, and others. Printed material consists of exhibition catalogs and announcements, news clippings about Soyer's career and realist painting, and scattered material such as newsletters, programs, and magazines.

The papers contain numerous photographs of Soyer, including photographs of him working in his studio, with models, with family, and with fellow artists such as David Burliuk, Nicolai Cikovsky, Chaim Gross, Raphael Soyer, and many others. Additional photographs are of Soyer's family, fellow artists, friends, events, and his artwork. Among the photographers is Arnold Newman. Original artwork includes book illustrations for First Book of Ballet and loose sketches by Soyer.
Arrangement:
The collection is arranged into 6 series:

Series 1: Biographical Material, 1925-1974 (Box 1, 5, OV 6; 12 folders)

Series 2: Correspondence, 1928-1974 (Box 1-2, 5; 1.0 linear foot)

Series 3: Writings & Notes, circa 1930s-1968, undated (Box 2; 0.6 linear feet)

Series 4: Printed Material, 1926-1974 (Box 2-3, 5, OV 6; 0.8 linear feet)

Series 5: Photographs, circa 1905-1974 (Box 3-5, OV 6; 1.1 linear foot)

Series 6: Artwork, circa 1940s-1960s (Box 4-5; 0.2 linear feet)
Biographical Note:
Moses Soyer (1899-1974) and his twin brother Raphael (1899-1987) were born on December 25, 1899, in the Russian town Borisoglebsk. Their father Abraham was a scholar and Hebrew teacher who encouraged all of his children to sketch and paint. After the family was deported from Russia, they settled in the Bronx, New York, in 1912. Moses and Raphael briefly attended school, but at 16 they began working various jobs to help support their family. They also began taking free art classes at Cooper Union and for a brief time at the National Academy of Design. Moses then enrolled at the Educational Alliance Art School where he met close friend Chaim Gross. He participated in his first exhibition in 1923 and also taught classes at the Education Alliance Art School until 1926 when he received a traveling scholarship to Europe.

Before leaving for Europe, Soyer married Ida, a former student and dancer. They spent most of their time during the next two years in France. Their son David was born in 1928. Shortly after his birth they returned to the New York City where Moses found greater inspiration for his social-realist paintings. During the Depression, he was commissioned to do artwork for the WPA and for the Federal Arts Project, depicting people doing everyday tasks. During this time Soyer also taught classes at the Contemporary Art School and the New School for Social Research.

Throughout the 1940s and 1950s Soyer continued with this subject matter, even as the abstract art movement became more prominent. Speaking out against abstract art as well as regionalism, he exhibited his work constantly, becoming a significant figure in the social realist movement. His work was represented by the American Contemporary Art (ACA) Gallery beginning in 1944, and he was also a member of several art organizations, including the Artists Equity Association. He was elected to the National Academy of Design in 1963 and to the National Institute of Arts and Letters in 1966. Soyer's later work focused on more sensitive portrayals of the female figure, especially dancers. He also painted portraits, including many of his artist friends such as Chaim Gross, Joseph Stella, and David Burliuk. He illustrated several books, including the First Book of Ballet and wrote Painting the Human Figure, which was published in 1964. Soyer continued to paint until his death in 1974.
Related Material:
Also found at the Archives of American Art are the Abe Lerner papers concerning the book Moses Soyer, 1961-1970, a Moses Soyer letter to Herbert S. Schimmel, and a Moses Soyer letter and two photographs, donated by Marilyn Mark. Also available at the Archives are the papers of Raphael Soyer, Moses Soyer's twin brother.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reel D176), the majority of which was later donated. Loaned materials not donated at a later date are not described in the container listing of this finding aid.
Provenance:
Moses Soyer first lent the Archives of American Art material for microfilming in 1965. Some of these papers, along with additional material, were donated by Soyer between 1966 and 1969. His son, David Soyer, gave more material in 1974 and 1975.
Restrictions:
Use of the original papers requires an appointment.
Rights:
The Moses Soyer papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Works of art  Search this
Painters -- New York (State) -- New York  Search this
Painting, American  Search this
Artists' studios -- New York (State) -- New York -- Photographs  Search this
Social realism -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Sketches
Citation:
Moses Soyer papers, circa 1905-1974. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.soyemose
See more items in:
Moses Soyer papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-soyemose
Online Media:

New York Artists Equity Association records

Creator:
New York Artists Equity Association  Search this
Names:
Art Bank (U.S.)  Search this
Artists Welfare Fund  Search this
Broome Street Gallery  Search this
Avery, Frances  Search this
Babin, Angela  Search this
Berger, Ted  Search this
Bibro, Denise  Search this
Bolotsky, Marvin  Search this
Brodski, Judith  Search this
Carswell, Mary  Search this
Cohen, Jean  Search this
Concholar, Dan, 1939-  Search this
Diener, Bert  Search this
Doug, Ashford  Search this
Facci, Domenico, 1916-1994  Search this
Fiene, Ernest, 1894-  Search this
Frankenthaler, Helen, 1928-2011  Search this
Fuller, Sue (1914-2006)  Search this
Gillespie, Dorothy, 1920-  Search this
Golub, Leon, 1922-2004  Search this
Goulet, Lorrie, 1925-  Search this
Gross, Chaim, 1904-1991  Search this
Gussow, Alan, 1931-  Search this
Gussow, Roy, 1918-2011  Search this
Hall, Nan  Search this
Hasen, Burt  Search this
Hayter, Stanley William, 1901-1988  Search this
Karp, Ivan C., 1926-2012  Search this
Kertess, Klaus  Search this
Knight, Gwendolyn  Search this
Kotik, Charlotte  Search this
Kramer, Hilton  Search this
Kroll, Leon, 1884-1974  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Laufman, Sidney, 1891-  Search this
Lawrence, Jacob, 1917-2000  Search this
Lipsky, Eleanor  Search this
Mandel, Howard, 1917-1999  Search this
Marinoff, Elaine  Search this
Marxer, Donna, 1934-  Search this
Millman, Edward, 1907-1964  Search this
Morris, George L. K., 1905-1975  Search this
Nevelson, Louise, 1899-1988  Search this
Newman, Arnold, 1918-2006  Search this
Newman, Elias, 1903-  Search this
O'Hanlon, Richard E., 1906-1985 (Richard Emmett)  Search this
Phillips, Helen, 1913-  Search this
Phillips, Renée  Search this
Poroner, Palmer  Search this
Reeves, Ruth, 1892-1966  Search this
Refregier, Anton, 1905-  Search this
Rothschild, Lincoln, 1902-  Search this
Sandler, Irving, 1925-  Search this
Searles, Charles Robert, 1937-2004  Search this
Simon, Sidney, 1917-1997  Search this
Sloan, John, 1871-1951  Search this
Smart, Bill  Search this
Smith, David, 1906-1965  Search this
Steinbaum, Bernice  Search this
Stirton, Laura  Search this
Teller, Susan  Search this
Walker, Hudson D. (Hudson Dean), 1907-1976  Search this
Waterson, Harry  Search this
Wayne, June, 1918-2011  Search this
Winters, Denny Sonke, 1907-1985  Search this
Zaleski, Jean  Search this
Zerbe, Karl, 1903-1972  Search this
deLisser, Carolyn  Search this
Extent:
26.8 Linear feet
2.99 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Video recordings
Sketches
Scrapbooks
Sound recordings
Date:
1920-2012
Summary:
The records of the New York Artists Equity Association (NYAEA) measure 26.8 linear feet and 2.99 Gb and date from 1920-2012. The records include history and founding documents, presidents' files, board of directors' files that include monthly board meeting minutes, committee files and annual membership meeting minutes, general administrative and correspondence files, financial and legal files, event and program files, artists and subject files, extensive individual membership files, art project and exhibition files, Broome Street Gallery files, NYAEA publications that include issues of The Artists Proof, printed and digital materials, four scrapbooks, sketches created by artists attending a party in honor of Yasuo Kuniyoshi, and photographs of member artists and events.
Scope and Contents:
The records of the New York Artists Equity Association (NYAEA) measure 26.8 linear feet and 2.99 GB and date from 1920-2012. The records include history and founding documents, presidents' files, board of directors' files that include monthly board meeting minutes, committee files and annual membership meeting minutes, general administrative and correspondence files, financial and legal files, event and program files, artists and subject files, extensive individual membership files, art project and exhibition files, Broome Street Gallery files, NYAEA publications that include issues of The Artists Proof, printed and digital materials, four scrapbooks, sketches created by artists attending a party in honor of Yasuo Kuniyoshi, and photographs of member artists and events. The President's files appear to be complete and include files for presidents Yasuo Kuniyoshi, Louise Nevelson, Harry Waterson, Roy Gussow, Jacob and Gwendolyn Knight Lawrence, Karl Zerbe, Ernst Fiene, Sidney Laufman, Carolyn deLisser, Burt Hasen, and Bert Diener, among others. Committee files and meeting minutes are found, as well as general administrative and correspondence files which include information pertaining to the national level Association.

Event files include documentation of the Association's Art Thursday series, where they hosted talks and panels by artists. Artists referenced in these files include Jean Cohen, Charles Searles, Leon Golub, Doug Ashford, Bruno Palmer-Poroner, Dom Facci, Susan Teller, Eleanor Lipsky, Ted Berger, Hilton Kramer, Bernice Steinbaum, Laura Stirton, Jean Zaleski, Renee Philips, Denise Bibro, Dan Concholar, Irving Sandler, Angela Babin, Dorothy Gillespe, Donna Marxer, Nan Hall, Ivan Karp, Alan Gussow, Mary Carswell, Bill Smart, Charlotte Kotik, Klaus Kertess, Elaine Marinoff, and Judith Brodski. Additional events covered in this series include the annual awards dinner, masquerade balls, lectures, the Association's 55th Anniversary event, which includes recollections by Helen Frankenthaler, Sidney Simon, and Lorrie Goulet, as well as other events and programs. Videocassette and sound recordings of many of the events are found here.

Artists' and subject files contain mostly printed materials about a few artists and subjects or issues in which the Association was interested.

There are extensive files on individual members that include card files, applications, biographies, and clippings.

Project and exhibition files include material pertaining to the Artists Welfare Fund, the Art Bank artwork donation, and a few scattered exhibitions. Additional exhibition and event files are found in the series containing the Broome Street Gallery files.

Association publications consist of what appears to be a full run of Association newsletters and reports. The NYAEA newsletter changed its name to The Artists Proof in 1986. Additional printed materials include exhibition catalogs and announcements, programs, clippings, posters, and newsletters of other arts organizations. There are four scrapbooks (two unbound) that contain printed materials, and a few items of correspondence. One of the scrapbooks documents the annual "Bal Fantastique".

Artwork consists mostly of sketches and drawings by artists attending a 1948 dinner in honor of Yasuo Kuniyoshi. Photographs are of members and events. Photographers include Arnold Newman, Marvin Bolotsky, and Frances Avery, among others. Numerous notable artists are depicted in the images.
Arrangement:
The collection is arranged into sixteen series.

Series 1: History and Founding Documents, 1933-2000 (0.3 linear feet; Box 1, 27

Series 2: Presidents' Files, 1927-2007 (2.8 linear feet; Boxes 1-4)

Series 3: Board of Directors' Files, 1947-2003 (1.4 linear feet; Boxes 4-5)

Series 4: Committee and Meeting Files, 1950-2009 (1.5 linear feet; Boxes 5-6)

Series 5: General Administrative and Correspondence Files, circa 1930-2008 (2 linear feet; Boxes 7-8, 0.284 GB; ER01)

Series 6: Financial and Legal Files, 1947-2000 (1 linear foot; Box 9)

Series 7: Events and Programs, 1930-2010 (4.2 linear feet; Boxes 10-14, 27, 0.446 GB; ER02)

Series 8: Artists and Subject Files, 1930-1998 (0.4 linear feet; Box 14)

Series 9: Membership Files, 1920-2009 (4.4 linear feet; Boxes 14-18, 27, 2.26 GB; ER03)

Series 10: Project and Exhibition Files, 1934-2010 (2 linear feet; Boxes 19-20)

Series 11: Broome Street Gallery Files, 1990-2011 (2.7 linear feet; Boxes 21-23, 31)

Series 12: Association Publications, 1947-2012 (1 linear foot; Boxes 23-24)

Series 13: Printed Materials, 1930-2008 (1.6 linear feet; Boxes 24-25, 27, 31, OV 28, OV 29)

Series 14: Scrapbooks, 1947-1969 (0.3 linear feet; Box 25, OV 30)

Series 15: Artwork, 1947-2000 (0.1 linear foot; Box 26, 27)

Series 16: Photographs, 1930s-2004 (0.9 linear feet; Box 26, 27)
Biographical / Historical:
The New York Artists Equity Association (originally the Artists Equity Association) was created in 1947 to promote and support living American artists. Nine prominent New York artists founded the organization and elected Yasuo Kuniyoshi as the organization's first president. The original membership included 160 well-known American artists, but by the end of its first year, membership had grown to over one thousand. By the 1950s, the organization had grown into an influential national organization. Past and present members have included Milton Avery, Will Barnet, Romare Bearden, George Biddle, Isabel Bishop, Robert Blackburn, Paul Cadmus, Charles Burchfield, Stuart Davis, Jose de Creeft, Elaine and Willem de Kooning, Leon Golub, Chaim Gross, Rockwell Kent, Roy Lichtenstein, Robert Motherwell, Alice Neel, Isamu Noguchi, Jules Olitski, Philip Pearlstein, Henry Varnum Poor, Charles Scheeler, Ben Shahn, David Smith, Frank Stella, Andrew Wyeth, and many others.

In 1959, the New York Chapter, with more members than all of the other states combined, re-organized into the New York Artists Equity Association. The Association maintained it own gallery, Broome Street Gallery, from 1991-2011. The organization remains active today and is located in SoHo.
Provenance:
The records were donated to the Archives of American Art by the New York Artists Equity Association in several increments between 1980-2016.
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 audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The New York Artists Equity Association records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to the public for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art galleries, Commercial -- New York (State) -- New York  Search this
Artists -- United States  Search this
Art -- Societies, etc. -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Video recordings
Sketches
Scrapbooks
Sound recordings
Citation:
New York Artists Equity Association records, 1920-2012. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nyarteqa
See more items in:
New York Artists Equity Association records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-nyarteqa

Oral history interview with Arnold Newman

Interviewee:
Newman, Arnold, 1918-2006  Search this
Interviewer:
Cummings, Paul  Search this
Names:
Brodovitch, Alexey, 1898-1971  Search this
Epstein, Jacob, Sir, 1880-1959  Search this
Gross, Chaim, 1904-1991  Search this
Rose, Ben, 1916-1980  Search this
Shahn, Ben, 1898-1969  Search this
Extent:
144 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1971 July 17-Aug. 23
Scope and Contents:
An interview of Arnold Newman conducted 1971 July 17-Aug. 23, by Paul Cummings, for the Archives of American Art.
Newman speaks of his early life in New York, Atlantic City, and Miami; learning the basics of photography as an apprentice to Litt Brothers; his West Palm Beach studio and his exhibition at A.D. Gallery in New York. He recalls being discovered by the Museum of Modern Art and Stieglitz and his first portraits of artists. Newman comments on influences on his work; his techniques and equipment and his difficulties with color photography. He discusses commissions; judging photographic talent; LIFE, "Holiday," and "Harper's" assignments and commercial photography. Newman relates anecdotes about some of the artists he photographed and talks about the formation of his own primitive art collection. He reminisces about Ben Rose, Chaim Gross, Jacob Epstein, Ben Shahn, and Alexey Brodovitch.
Biographical / Historical:
Arnold Newman (1918-2006) was a photographer by New York, N.Y.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 4 digital wav files. Duration is 4 hrs., 47 min.
Provenance:
These interviews are 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.
Rights:
Authorization to publish, quote or reproduce must be obtained from Arnold Newman.
Topic:
Photographers -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.newman71
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-newman71

Chaim Gross papers

Creator:
Gross, Chaim, 1904-1991  Search this
Names:
Blume, Peter, 1906-1992  Search this
Grooms, Mimi Gross  Search this
Newman, Arnold, 1918-2006  Search this
Robbins, Warren M.  Search this
Soyer, Raphael, 1899-1987  Search this
Extent:
21.1 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Video recordings
Motion pictures (visual works)
Date:
1920-2004
Summary:
The papers of New York City sculptor and teacher Chaim Gross measure 21.1 linear feet and date from 1920-2004. The collection provides comprehensive documentation of Gross's career through biographical material, personal and professional correspondence with family, artists, writers, galleries, museums, educational institutions, and religious and philanthropic organizations, writings, personal business records, extensive printed and published material including motion picture film and video recordings of four documentaries, one hundred and fifteen sketchbooks spanning the bulk of Gross's career, and photographs of Gross, his family, many friends and colleagues from the art world, his studio, personal art collection, and works of art. An unprocessed addition of three sketchbooks was donated in 2020.
Scope and Contents:
The papers of New York City sculptor and teacher Chaim Gross measure 21.1 linear feet and date from 1920-2004. The collection provides comprehensive documentation of Gross's career through biographical material, personal and professional correspondence with family, artists, writers, galleries, museums, educational institutions, and religious and philanthropic organizations, writings, personal business records, extensive printed and published material including motion picture film and video recordings of four documentaries, one hundred and fifteen sketchbooks spanning the bulk of Gross's career, and photographs of Gross, his family, many friends and colleagues from the art world, his studio, personal art collection, and works of art.

Biographical material includes records collated to document awards and honors given to Gross documenting the recognition he received for his lifelong achievements in the last two decades of his career, including from the American Academy of Arts and Letters and the National Academy of Design. The series also includes Gross's birth certificate printed in 1920, some biographical notes and resumes prior to the 1970s, documentation of Gross's business and personal contacts through addresses and business cards, and a motion picture film of a documentary about Gross, Art and the Model, made in 1976 by Thea Bay and edited by Bob Worth.

Personal and professional correspondence constitutes the largest series in the collection and documents all aspects of Gross's prolific career including: personal letters from friends and family such as daughter Mimi Gross and Red Grooms; professional correspondence with galleries, museums, and other art institutions including the Jewish Museum, Metropolitan Museum of Art, the Smithsonian American Art Museum, the Hirshhorn Museum and Sculpture Garden, and the Whitney Museum of American Art; correspondence documenting commissions, loans, and sales of Gross's artwork through galleries including Forum Gallery; and correspondence with synagogues including International Synagogue, Temple Sharaay Tefila, and Temple Sinai, Pittsburgh, and multiple other Jewish organizations such as Hadassah and State of Israel Bonds. Correspondence also documents publications by and about Gross including letters from Abe Lerner, the Jewish Publication Society of America, Chaim Potok, and Harry N. Abrams, Inc.; Gross's work as a teacher including at the Educational Alliance and the New School for Social Research; and the significance of Gross's personal collection of African art through correspondence with Warren M. Robbins, the Smithsonian Museum of African Art, and others. Gross's work for the Works Progress Administration Federal Art Project and Treasury Relief Project, as well as for the 1939 World's Fair, is also documented in this series and includes contracts and correspondence with Ed Rowan.

Correspondence includes many letters from artist friends and colleagues including Isabel Bishop, Peter Blume, Eliot Elisofon, Eugenie Gershoy, Milton Hebald, Lewis Jacobs, Karl Knaths, Arnold Newman, Elias Newman, Saul Rosen, Moses Soyer, Raphael Soyer, Nicholas Sperakis, William and Marguerite Zorach, and many others. Writers and scholars who corresponded with Gross include Samuel French Morse, Jack C. Rich, Shea Tenenbaum, Roberta Tarbell, and others.

Writings primarily consist of a partial draft of Gross's book The Technique of Wood Sculpture but also include a copy of his first published article in 1938 in the American Federation of Arts Magazine of Art, and a few short writings by Gross on other artists. Writings by others include a memoir of Gross's boyhood written by his brother, poet Naftoli Gross.

Gross's personal business records are scattered, as many transactional records are included with his correspondence. They do include lists of Gross's artwork and his personal art collection, two agreements for rights to use his work, appraisals of twelve of his works of art, and receipts of consignments, sales, loans, and gifts of artwork.

Printed material is a comprehensive and substantial record of Gross's exhibitions, and his prolific engagement in the arts and his community throughout his long career. This series includes announcements and catalogs for many of his exhibitions, brochures and programs for art organizations for which he exhibited, taught, donated to, or was otherwise represented in, notably the Educational Alliance, the New School for Social Research, the Sculptors Guild, Inc., and numerous other private and public museums, galleries, and institutions. Also found is circa one linear foot of clippings about Gross that span his career from newspapers, magazines, and journals, including some Hebrew and Yiddish publications. The series also houses video recordings of the documentaries Tree Trunk to Head and A Sculptor Speaks, and an NBC broadcast of an interview with Gross entitled The Two Chaims, as the motion picture film, A Sculptor Speaks.

Sketchbooks provide a unique visual record of Gross's development and the shifting focus of his subject matter from 1933 to right before his death in 1991. They record his early subjects of acrobatic models, family bonds, and landscapes, and the emergence of darker "fantasy" drawings in the wake of the Holocaust and World War II which brought the news of the murder of his brother and sister and her family by the Nazis. The sketchbooks document Gross's travels abroad during the 1960s, and his incorporation of Jewish iconography and Old Testament themes in the 1960s and 1970s. They also illustrate how the constant theme of the celebration of the human form persisted in his work to the end of his life.

Photographs of people and events, although only measuring 0.7 linear feet, provide a rich visual record of Gross's life and his professional and personal relationships from the time he arrived in the United States in 1920 to the late 1980s. The earliest photographs picture Gross with his brothers and with new friends at the Educational Alliance including Moses and Raphael Soyer, Peter Blume, and Elias Newman. There are many photographs of Gross working in his studios, and at the Bedi-Makky Art Foundry in Brooklyn, photographs taken at parties, exhibition openings, receptions, and other events, and photographs of Gross's art collection and exhibition installations. Photographs picture artists such as Hyman Brown, Jose de Creeft, Joseph Hirsch, Moses Soyer, and Raphael Soyer; and gallery owners and collectors including Bella Fishko, Joseph Hirshhorn, Sidney Janis, and Warren M. Robbins. The series also houses photographs of works of art, primarily sculpture, executed by Gross between 1922 and 1987.

An unprocessed addition of three sketchbooks was donated in 2020.
Arrangement:
The collection is arranged as eight series.

Series 1: Biographical Material, 1920-circa 1991 (0.35 linear feet; Box 1, FC23)

Series 2: Correspondence, 1926-1997 (8.75 linear feet; Boxes 1-9, 22)

Series 3: Writings and Notes, 1938-circa 1980s (0.25 linear feet; Boxes 9-10)

Series 4: Personal Business Records, circa 1936-1982 (0.25 linear feet; Box 10)

Series 5: Printed Material, 1925-2004 (3.7 linear feet; Boxes 10-14, 22, FC 24)

Series 6: Sketchbooks, 1933-1991 (6.1 linear feet; Boxes 14-19, 22)

Series 7: Photographs, circa 1921-circa 1990s (1.5 linear feet; Boxes 20-22)

Series 8: Unprocessed Addition, 1949-1951 (0.2 linear feet; Box 25)
Biographical / Historical:
New York City sculptor and teacher Chaim Gross (1904-1991) is considered one of America's foremost sculptors, known for his semi-abstract bronzes celebrating the human form, and his pioneering work in direct wood carving. Gross taught for over fifty years at the Educational Alliance Art School and for forty years at the New School for Social Research.

Born in 1904 in Wolowa, Galicia, in what is now the Ukraine, Gross studied at the National Academy of Fine Arts in Budapest in 1919 and at the Kunstgewerbeschule in Vienna in 1920 before immigrating to New York in 1921. He attended the Lower East Side Educational Art School in New York City from 1921-1927 where he began lifelong friendships with artists Moses Soyer, Raphael Soyer, Peter Blume and other important twentieth century artists. Gross also studied with Elie Nadelman at the Beaux-Arts Institute of Design and Robert Laurent at the Art Students League. He began teaching at the Educational Alliance in 1927 where his students included Louise Nevelson.

Gross married Renee Nechin in 1932 and they had two children, Yehuda and Miriam (Mimi). Mimi Gross is a New York-based artist who was married to artist Red Grooms from 1963-1976.

Gross's first solo exhibition was held at Gallery 144 in New York City in 1932, and he began to develop a reputation as a major contemporary sculptor when he joined the Federal Art Project in 1934 and won a commission from the Treasury Department competition for art works for public buildings in 1936. His projects included relief panels for the Federal Trade Commission building in Washington, D. C., and a large-scale family group for the France Overseas and Finnish Buildings at the 1939 New York World's Fair. In 1938 Gross founded the Sculptors Guild with William Zorach and served as the guild's first president. His work began to be acquired by major American museums, including the Whitney Museum of American Art, and the Metropolitan Museum of Art which in 1939 awarded Gross a $3000 purchase prize for his wood sculpture of circus performer Lillian Leitzel.

In 1938 filmmaker Lewis Jacobs produced a thirty minute film, Tree Trunk to Head, of Gross carving a wood sculpture of Renee Gross in his studio. Lewis subsequently produced a seventeen minute film, The Sculptor Speaks, of Gross working in his studio in 1957. That same year Gross published an influential how-to book The Technique of Wood Sculpture, featuring photographs by Eliot Elisofon.

Much of Gross's early work focused on performers such as acrobats and dancers, family groups, and the mother and child bond. The bulk of his work was in wood, particularly hardwoods with a dark or pronounced grain. In the 1940s, after hearing that his brother Pincus and sister Sarah and her family had been murdered by the Nazis, Gross devoted time daily to sketching in his notebooks, producing a visual diary of the emotional trauma involved in processing their horrific fate and navigating his own grief. A collection of the drawings was published in Chaim Gross: Fantasy Drawings (Beechurst Press) in 1956. Gross carved My Sister Sarah – in Memoriam (no. 36) in 1947 and made the first of seven trips to Israel in 1949.

By the late 1950s Gross was working less in direct carving and was focusing primarily on modeling in plaster on an armature for casting in bronze. In 1957 and 1959 he traveled to Rome, Italy, and worked with the Nicci Foundry. Bella Fishko began representing Gross's work after establishing Forum Gallery in New York City in 1961. After 1947 Gross had begun to incorporate more Jewish iconography and Old Testament themes into his work, designing and casting large scale menorahs for synagogues such as Temple Sinai in Pittsburgh and the Menorah Home for the Aged in Brooklyn during the 1960s. He executed six bronze panels, entitled Six Days of Creation, for Temple Sharaay Tefila in New York City in 1964, and Ten Commandments for the International Synagogue at Kennedy Airport in 1970-1971. In 1973 Gross illustrated The Book of Isaiah, published by the Jewish Publication Society of America.

Gross was active in many art-related and philanthropic organizations throughout his life and was the recipient of numerous awards, honors, and honorary degrees. He was elected to membership of the National Institute of Arts and Letters in 1964, became an Academician at the National Academy of Design in 1983, and was inducted into the American Academy of Arts and Letters in 1984. A solo exhibition Chaim Gross: Sculpture and Drawings, was held at the Smithsonian's National Collection of Fine Arts in 1974. In 1977 Gross had three retrospective exhibitions at the Lowe Art Museum at the University of Miami, the Montclair Art Museum, and the Jewish Museum in New York City. Scholar Roberta Tarbell wrote a key essay on Gross for the Jewish Museum exhibition.

In addition to being a professor of sculpture and printmaking at the Educational Alliance Art School and the New School for Social Research, Gross taught at the Brooklyn Museum Art School, the art school of the Museum of Modern Art, and the Art Students League.

Gross had begun collecting African sculpture in the 1930s and was later introduced by art critic Frank Getlein to Warren M. Robbins, who established the Museum of African Art in 1964. Gross gave Robbins several pieces for the museum and connected him with other individuals whose private collections of African art Robbins learned would be key to the success of the museum. A selection from Gross's renowned collection was exhibited at the Worcester Art Museum in The Sculptor's Eye: The African Art Collection of Mr. and Mrs. Chaim Gross in 1976.

The Renee & Chaim Gross Foundation was created in 1974 at 526 LaGuardia Place, the historic Greenwich Village townhouse which Chaim and Renee Gross purchased in 1962 and renovated to include studio and gallery space with living quarters above. Three years after Gross's death in 1991, the Renee and Chaim Gross foundation opened to the public with a memorial exhibition of the sculptor's work. 526 LaGuardia Place continues to house an extensive collection of Gross's artwork, a photographic archive, and Gross's personal art collection. Gross's work is represented in major museums throughout the United States and abroad, with the Smithsonian's Hirshhorn Museum and Sculpture Garden housing the largest collection of his sculpture in a public museum.
Related Materials:
Additional Chaim Gross papers are held by Syracuse University.
The Archives of American Art also holds an oral history interview of Chaim Gross conducted 1964 September 1 by Dorothy Seckler and an oral history interview of Chaim Gross conducted 1981 May 26-27 by Milton Wolf Brown.
Separated Materials:
The Archives of American Art holds the microfilm (Reels D115a, 924, and 925) of ten record books, 1926-1975, containing rough drawings of artworks, dimensions, titles, dates, materials, production locations, and information regarding owners. The record books were returned to the donor after microfilming and are not described in the collection container inventory.
Provenance:
The Chaim Gross papers were given to the Archives of American Art in a series of accessions by Chaim Gross from 1963-1983. Thirteen postcards were given by Mrs. Irving Marantz in 1975. Mimi Gross donated eight letters and two envelopes in 2005. Additional papers were donated by the Renee and Chaim Gross Foundation in 2016 via Susan Fisher, executive Director, and in 2017 and 2020 by the Foundation via Sasha Davis, Interim Director and Curator of Collections.
Restrictions:
Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Rights:
One folder of letters, Box 3, Folder 63: permission to reproduce for purposes of publication requires written permission from Mimi Gross.

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:
Sculptors -- New York (State) -- New York  Search this
Art teachers -- New York (State) -- New York  Search this
Topic:
Jewish artists  Search this
Sculpture, Modern -- 20th century  Search this
Genre/Form:
Sketchbooks
Video recordings
Motion pictures (visual works)
Citation:
Chaim Gross papers, 1920-2004. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.groschai
See more items in:
Chaim Gross papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-groschai

Bernard Harper Friedman papers

Creator:
Friedman, B. H. (Bernard Harper), 1926-2011  Search this
Names:
Provincetown Fine Arts Work Center  Search this
Whitney Museum of American Art  Search this
Asher, Elise, 1914-  Search this
Baur, John I. H. (John Ireland Howe), 1909-1987  Search this
Bertoia, Harry  Search this
Biddle, Flora Miller  Search this
Bluhm, Norman, 1921-1999  Search this
Brooks, James, 1906-1992  Search this
Bultman, Fritz, 1919-1985  Search this
Castelli, Leo  Search this
Copley, William Nelson, 1919-1996  Search this
Dine, Jim, 1935-  Search this
Frankenthaler, Helen, 1928-2011  Search this
Gill, Brendan, 1914-1997  Search this
Goodnough, Robert, 1917-  Search this
Gray, Cleve  Search this
Gray, Francine du Plessix  Search this
Hall, Joellen  Search this
Huebler, Douglas  Search this
Kanovitz, Howard  Search this
Knowlton, Grace, 1932-  Search this
Krasner, Lee, 1908-1984  Search this
Kunitz, Stanley, 1905-2006  Search this
Marca-Relli, Conrad, 1913-2000  Search this
Matter, Mercedes  Search this
McDarrah, Fred W., 1926-2007  Search this
McEwen, Rory, 1932-  Search this
Motherwell, Robert  Search this
Newman, Arnold, 1918-2006  Search this
Newman, Barnett, 1905-1970  Search this
Norman, Dorothy, 1905-1997  Search this
Ossorio, Alfonso, 1916-1990  Search this
Pollock, Jackson, 1912-1956  Search this
Richenburg, Robert  Search this
Rosset, Barney  Search this
Roth, Philip  Search this
Rothschild, Judith  Search this
Salvesen, Magda  Search this
Sandler, Irving, 1925-  Search this
Scarpitta, Salvatore, 1919-2007  Search this
Schueler, Jon, 1916-  Search this
Simon, Sidney, 1917-1997  Search this
Slivka, David, 1913-  Search this
Still, Clyfford, 1904-1980  Search this
Stout, Myron, 1908-1987  Search this
Interviewee:
Cage, John, 1912-1992  Search this
Correspondent:
Leary, Timothy Francis, 1920-  Search this
Extent:
30.6 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Transcripts
Sound recordings
Photographs
Scrapbooks
Date:
1926-2011
bulk 1943-2010
Summary:
The papers of writer, art critic and collector Bernard Harper Friedman, 1926-2011, bulk 1943-2010, measure 30.6 linear feet. Extensive professional and personal correspondence, 41 diaries, a large number of his published and unpublished writings, and subject files document Friedman's career as a writer, relationships with cultural institutions and art world figures, and his personal life. Also included are biographical materials, interviews, printed material, 5 scrapbooks and photographs.
Scope and Contents:
The papers of writer, art critic and collector Bernard Harper Friedman, 1926-2011, bulk 1943-2010, measure 30.6 linear feet. Extensive professional and personal correspondence, 41 diaries, a large number of his published and unpublished writings, and subject files document Friedman's career as a writer, relationships with cultural institutions and art world figures, and his personal life. Also included are biographical materials, interviews, 5 scrapbooks, and photographs.

Biographical materials include educational records, documentation of Friedman's World War II service in the U.S. Navy, and birth, marriage, and death certificates.

Correspondence is with friends, family, artists, art world figures and institutions, writers, publishers, and literary agents. Among the correspondents are: John I. H. Baur, Harry Bertoia, Flora Biddle, Norman Bluhm, James Brooks, Fritz Bultman, Leo Castelli, William N. Copley, Jim Dine, Helen Frankenthaler, Brendan Gill, Robert Goodnough, Cleve and Francine Gray, Howard Kanovitz, Grace Knowlton, Stanley Kunitz, Conrad Marca-Relli, Mercedes Matter, Fred W. McDarrah, Rory McEwen, Robert Motherwell, Arnold Newman, Barnett Newman, Dorothy Norman, Alfonso Ossorio, Provincetown Fine Arts Work Center, Robert Richenburg, Barney Rosset, Philip Roth, Judith Rothschild, Irving Sandler, Salvatore Scarpitta, Jon Schueler, Sidney Simon, David Slivka, Clyfford Still, Myron Stout, Calvin Tompkins, and David Windham.

There are transcripts of interviews with B. H. Friedman, his daughter and wife conducted by the Yale University School of Medicine's "Adult Development Study," and 2 recordings of interviews with Friedman for radio broadcast.

Writings by Friedman include manuscripts of novels, short stories, plays, articles, monographs, and art criticism, some published versions of his work, and a variety of notes. Also found are recordings of lectures by B. H. Friedman and panel discussions in which he participated. Other authors represented are John Cage, W. B. Henry, and Jon Schueler. Friedman's diaries, 1948-1993 (41 volumes) record activities, thoughts, and events.

Subject files compiled by Friedman reflect professional and personal interests, activities, and projects. Many concern publicity for published writings or efforts to find publishers. Especially well documented is his interest in Jackson Pollock, Timothy Leary, and Alfonso Ossorio, and his affiliation with the Whitney Museum of American Art.

The majority of printed material is about or mentions Friedman. Five scrapbooks consist mainly of printed material.

Most photographs are of B. H. and Abby Friedman, their family, and friends. Among the individuals pictured are: Elise Asher, Cary and Norman Bluhm, Sandy Friedman, Joellen Hall, Doug Huebler, Howard Kanowitz, Stanley Kunitz, Lee Krasner, Sheridan Lloyd, Barnett and Annalee Newman, Alfonso Ossorio, Magda Salvesen, Salvatore Scarpitta, John Schueler, and Myron Stout. A photograph album records scenes from a 1979 performance of Whispers, a stage adaptation by Alan Wynroth from Friedman's novel of the same title.
Arrangement:
This collection is arranged as 9 series:

Series 1: Biographical Materials, 1926-2011 (Box 1; 0.2 linear feet)

Series 2: Correspondence, 1946-2011 (Boxes 1-15; 14.7 linear feet)

Series 3: Interviews, 1969-2001 (Box 15; 0.2 linear feet)

Series 4: Writings, 1940s-2010 (Boxes 16-23; 8 linear feet)

Series 5: Diaries, 1948-1993 (Boxes 24-25; 1.75 linear feet)

Series 6: Subject Files, 1940-2010 (Boxes 25-30; 4.45 linear feet)

Series 7: Printed Material, 1954-2010 (Box 30-31; 0.2 linear feet)

Series 8: Scrapbooks, 1960-2006 (Boxes 30-32; 0.8 lilnear feet)

Series 9: Photographs, circa 1950s-2008 (Box 30; 0.4 linear feet)
Biographical / Historical:
Bernard Harper Friedman (1926-2011), a writer best known as the author of the first biography of Jackson Pollock, was also an art critic and art collector involved in the cultural life of New York City.

Bernard Harper Friedman, known professionally as B. H. Friedman, was called Bob by family and friends. After interrupting his studies at Cornell University to serve in the U.S. Navy during World War II, he graduated in 1948 with a degree in English. Friedman and his new bride, fellow student Abby G. Noselson (1926-2003), returned home to New York City and he began a real estate career in his uncles' firm, Uris Buildings Corporation. While a businessman, Friedman spent much of his spare time writing. He produced fiction, plays, and criticism; Friedman's articles on art, literature and music appeared in a wide variety of periodicals. During this period, Friedman also pursued his interests in jazz, collecting abstract art, and psychedelic drug experiences with Timothy Leary.

His first published novel, Circles, about the Abstract Expressionist milieu, appeared in 1962. A year later, B. H. Friedman became a full-time writer. For nearly 20 years, he divided his time between New York City and Provincetown, Massachusetts, where he was affiliated with the Fine Arts Work Center as a director and consultant. During this period, he published several novels and two biographies: Jackson Pollock: Energy Made Visible and Gertrude Vanderbilt Whitney, written with Flora Biddle. More novels and short story collections were published, and staged readings of seven plays were presented between 1987 and 2007. Tripping, a memoir of using psychedlics with Timothy Leary, appeared in 2006.

A founding member of Fiction Collective, a nonprofit publishing group run by and for writers, Friedman was also a member of several national writers' organizations. He served as a trustee of the Whitney Musuem of American Art, 1961-1968, and then as honorary trustee. B. H. Friedman died from complications of pneumonia on January 4, 2011 in New York City.
Related Materials:
Also available is an oral history interview with Bernard Harper Friedman, 1972 November 10, conducted by Paul Cummings for the Archives of American Art.
Provenance:
The Bernard Harper Friedman papers were donated to the Archives of American Art in 2012 by his daughter, Daisy Friedman.
Restrictions:
The collection is ACCESS RESTRICTED; written permission is required. Use of original materials requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Bernard Harper Friedman papers are owned by the Archives of American Art, Smithsonian Institution. They may be used for research, study, and scholarship. Access requires written permission.
Topic:
Art critics -- New York (State) -- New York  Search this
Art -- Collectors and collecting -- New York (State) -- New York  Search this
Interviews  Search this
Authors -- New York (State) -- New York  Search this
Genre/Form:
Diaries
Transcripts
Sound recordings
Photographs
Scrapbooks
Citation:
Bernard Harper Friedman papers, 1926-2011, bulk 1943-2010. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.friebern
See more items in:
Bernard Harper Friedman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-friebern

Sylvia Carewe papers

Creator:
Carewe, Sylvia, 1906-1981  Search this
American Society of Tapestry Designers  Search this
Names:
Avery, Milton, 1885-1965  Search this
Burliuk, David, 1882-1967  Search this
Gross, Chaim, 1904-1991  Search this
Newman, Arnold, 1918-2006  Search this
Walkowitz, Abraham, 1880-1965  Search this
Extent:
75 Items
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
ca. 1930-1972
Scope and Contents:
Correpsondence, writings, photographs, artwork and printed material relating to painter and tapissere Sylvia Carewe.
Correspondence includes an undated card from Milton and Sally Avery and a letter from Susan Page Tillett of the National Portrait Gallery, 1979. Writings include photocopies of poems and writings by Carewe, undated and 1943-1972 and 7 books with inscriptions by David Davidovich Burliuk, Chaim Gross, and Abraham Walkowitz. Two of the books contain a gouache and ink drawings by Burliuk and Gross with their inscriptions to Carewe. Photographs are of Carewe, her son, friends and her studio. Also included is a photograph of Carewe and husband, art collector Marvin Small, ca. 1955, signed by Arnold Newman.
Artwork includes 2 sketchbooks, ca. 1942, containing watercolor studies and sketches; a gouache, 1956, by Chaim Gross; a sketchbook of ink and pencil drawings; and a sketchbook containing the signatures of founding members of The American Society of Tapestry Designers, March 30, 1960. Printed material consists of an undated price list and description of tapestries in the exhibition CONTEMPORARY FRENCH TAPESTRIES, sponsored by Association Francaise D'Action Artistique, French & Company, New York City, and a news release about the exhibition; exhibition posters, ca. 1958-1971; 2 postcards of works by Carewe; magazine and newspaper clippings, 1960 and 1963; and other publications about Carewe's tapestries.
Biographical / Historical:
Sylvia Carewe (1906-1981) was a painter and tapissere in New York, N.Y.
Provenance:
Donated 1971 and 1979 by Sylvia Carewe and in 1983 by John Small, Carewe's son.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Painters -- New York (State) -- New York  Search this
Tapissiers -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Art -- Collectors and collecting  Search this
Genre/Form:
Sketchbooks
Identifier:
AAA.caresylp
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-caresylp

Martin H. Bush papers

Creator:
Bush, Martin H.  Search this
Names:
ACA Galleries  Search this
Edwin A. Ulrich Museum of Art  Search this
Wichita State University -- Faculty  Search this
Andrews, Benny, 1930-2006  Search this
Beckett, Samuel, 1906-1989  Search this
Goodnough, Robert, 1917-  Search this
Hanson, Duane  Search this
Karp, Ivan C., 1926-2012  Search this
Neel, Alice, 1900-1984  Search this
Nevelson, Louise, 1899-1988  Search this
Newman, Arnold, 1918-2006  Search this
Pousette-Dart, Richard, 1916-1992  Search this
Trova, Ernest T., 1927-  Search this
Von Wicht, John, 1888-1970  Search this
Witkin, Isaac  Search this
Extent:
5.1 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Video recordings
Interviews
Date:
1948-2012
bulk 1970-2008
Summary:
The papers of Martin H. Bush measure 5.1 linear feet and date from 1948-2012, with the bulk of the material dating from 1970-2008. The collection documents Bush's career as an art historian, educator, consultant, and gallery director through biographical material, correspondence, interviews, subject files, a scrapbook, and printed material. There is an unprocessed addition to this collection that includes one VHS tape, "American Art Forum: Martin Bush, October 27, 1988."
Scope and Contents:
The papers of Martin H. Bush measure 5.1 linear feet and date from 1948-2012, with the bulk of the material dating from 1970-2008. The collection documents Bush's career as an art historian, educator, consultant, and gallery director through biographical material, correspondence, interviews, subject files, a scrapbook, and printed material. There is an unprocessed addition to this collection that includes one VHS tape, "American Art Forum: Martin Bush, October 27, 1988."

Biographical material includes curriculum vitae, a certificate of discharge from the United States Army Reserve, and a lifetime membership certificate from the Edwin A. Ulrich Museum of Art. Most of the correspondence is personal in nature and consists of letters between Bush and his colleagues at Wichita State University and the Ulrich Museum of Art, friends, and family members. Martin H. Bush's interviews on videocassette with artists and other figures in the art world include Benny Andrews, Duane Hanson, Ivan Karp, Alice Neel, Louise Nevelson, and Arnold Newman.

Subject files primarily document Martin H. Bush's activities as an art dealer and consultant and contain auction house sales and files on individual artists, including Richard Pousette-Dart, Robert Goodnough, Ernest Trova, and Isaac Witkin. Source files include illustrated letters by John Von Wicht and a folder on Samuel Beckett's correspondence with Bush that includes three holograph letters and one typescript letter from Beckett. A small amount of material references Bush's tenure as director of the ACA Gallery. Photographic materials are also included.

A scrapbook contains news clippings and excerpts of newsletters covering Bush's career at Wichita State University. Printed material includes books, an educational brochure, exhibition catalogs, and a memorial booklet.
Arrangement:
The collection is arranged as 6 series.

Series 1: Biographical Material, 1956-2008 (Box1, OV 5; 0.2 linear feet)

Series 2: Correspondence, 1984-2012 (Box 1; 0.8 linear ft.)

Series 3: Interviews, circa 1970-1994 (Boxes 1-2; 1 linear ft.)

Series 4: Subject Files, 1963-2012 (Boxes 2-4; 2 linear ft.)

Series 5: Scrapbook, 1971-2000 (Box 4; 1 folder)

Series 6: Printed Material, 1948, 1964-circa 2000 (Box 4, 0.25 linear ft.)

Series 7: Unprocessed addition, 1988 (Box 4)
Biographical / Historical:
Martin H. Bush is an art historian, educator, consultant, and gallery director.

Bush received a Bachelor of Arts from the State University of New York at Albany in 1958. From 1963-1965, he taught at Syracuse University, where he earned his Ph.D in History in 1966. Bush also served as the University's Assistant Dean for Academic Resources from 1965-1970. During this time, Martin H. Bush was also a consultant to the New York State Education Department.

From 1970-1974, Martin H. Bush was the Vice President of Academic Resource Development at Wichita State University, a position created for him by the University's President, Clark Ahlberg. In this post, Bush established a special collections department at Ablah Library and the Ulrich Museum of Art. Bush was also a consultant to several major corporations in Wichita, including Fourth Financial Corporation, Range Oil Company, and American Diversified Real Estate. In 1974, in recognition of Bush's contribution to the museum, the University opened the Martin H. Bush Outdoor Sculpture Collection. Bush has been involved in the acquisition of major pieces of outdoor sculpture from such well-known artists as Chaim Gross, Barbara Hepworth, Henry Moore, Juan Miró, Louise Nevelson, and George Rickey. In 1989, Bush moved to New York City, where he continued his work as an art consultant. From 1992-1993, he was President of the ACA Gallery.

Martin H. Bush has published many books and articles on artists as well as contributed essays for exhibition catalogs. In the 1970s-1980s, Bush interviewed major artists for public television and radio programs in Wichita, among them Benny Andrews, Isabel Bishop, Richard Pousette-Dart, and Theodoros Stamos. Martin H. Bush's honors and awards include the George S. Patton Medal by the government of Luxembourg for his essay, "Ben Shahn: The Passion of Sacco and Vanzetti," 1969; "Outstanding Educator" by the Kansas Art Education Association, 1979; and the Wichita Arts Council Award, 1984.
Provenance:
The collection was donated in 2013 by Martin H. Bush. An unprocessed addition to the collection was donated by Lisa Bush Hankin in 2016.
Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Martin H. Bush papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Educators  Search this
Consultants  Search this
Topic:
Art -- Study and teaching  Search this
Gallery directors  Search this
Art historians  Search this
Genre/Form:
Photographs
Scrapbooks
Video recordings
Interviews
Citation:
Martin H. Bush papers, 1948-2012, bulk 1970-2008. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bushmart
See more items in:
Martin H. Bush papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bushmart

The ACA Galleries records

Creator:
ACA Galleries  Search this
Names:
American Contemporary Art Gallery  Search this
Abbott, Berenice, 1898-1991  Search this
Baron, Herman, 1892-1961  Search this
Burliuk, David, 1882-1967  Search this
Cahill, Holger, 1887-1960  Search this
Dondero, George A. (George Anthony), 1883-1968  Search this
Evergood, Philip, 1901-1973  Search this
Gropper, William, 1897-1977  Search this
Gwathmey, Robert, 1903-1988  Search this
Hirsch, Joseph, 1910-1981  Search this
McCausland, Elizabeth, 1899-1965  Search this
Mumford, Lewis, 1895-1990  Search this
Olds, Elizabeth, 1896-1991  Search this
Pickens, Alton  Search this
Refregier, Anton, 1905-  Search this
Soyer, Moses, 1899-1974  Search this
Soyer, Raphael, 1899-1987  Search this
Valente, Alfredo  Search this
Weber, Max, 1881-1961  Search this
Young, Art, 1866-1943  Search this
Photographer:
Newman, Arnold, 1918-2006  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Writings
Photographs
Date:
1917-1963
Summary:
The scattered records of the ACA (American Contemporary Art) Galleries date from 1917 through 1963 and include writings by founder Herman Baron, artists Philip Evergood and Anton Refregier, and art critic Elizabeth McCausland; printed materials; and photographs of Baron, ACA artists, art collectors, works of art, and exhibitions. Correspondence is with David Burliuk, Philip Evergood, William Gropper, Lewis Mumford, Moses Sawyer, Max Weber, and others. Also found is a small group of Herman Baron's personal papers.
Scope and Content Note:
The scattered records of the ACA (American Contemporary Art) Galleries date from 1917 through 1963 and include writings by founder Herman Baron, artists Philip Evergood and Anton Refregier, and art critic Elizabeth McCausland; printed materials; and photographs of Baron, ACA artists, art collectors, works of art, and exhibitions. Correspondence is with David Burliuk, Philip Evergood, William Gropper, Lewis Mumford, Moses Sawyer, Max Weber, and others. Also found is a small group of Herman Baron's personal papers.

The records are a rich resource for documenting the Social Realist artists and the militant socialist artists during the great depression and the post-World War II era of "McCarthyism".

Correspondence with ACA artists consists of letters from Philip Evergood, David Burliuk, William Gropper, Robert Gwathmey, Joseph Hirsch, Lewis Mumford, Elizabeth Olds, Alton Pickens, Moses Soyer, Max Weber, and Art Young. Some of the letters concern the socialist and communist views of some of the artists, including responses to Congressional Representive George A. Dondero's public statements and attacks on modern art as a conspiracy to spread communism in the United States. There is a letter written by Holger Cahill to the editor of Time magazine concerning WPA artists. Also found is a letter from Raphael Soyer written to the ACA Galleries concerning the American Artists' Congress.

Writings include Herman Baron's written history of the ACA Galleries and scattered pages of Baron's book on Joe Jones and William Gropper. There are essays and writings by art critic Elizabeth McCausland, and artists Anton Refregier and Philip Evergood. Printed materials consist of ACA publications, newspaper clippings, published articles, printed illustrations by Philip Evergood, and printed materials about Congressman Dondero.

Photographs are of David Burliuk, Bruce Calder, Nicolai Cikovsky, Hy Cohen, Robert Cronbach, Alexander Dobkin, Philip Evergood, Mike Gold, Chaim Gross, William Gropper, Joe Jones, Mervin Jules, Irene Rice Pereia, Geri Pine, Philip Reisman, Vic Shifreen, Harry Sternberg, Moses Soyer, Raphael Soyer, James Baare Turnbull, Nicky Walker, Abraham Walkowitz, Nat Werner, and Art Young. Photographers include Berenice Abbott, Arnold Newman, and Alfredo Valente. Additional photographs are of unidentified installations or exhibitions.

Herman Baron's personal papers include letters written to his wife and friends during World War I, writings by Baron for various magazines including Glazier's Journal. Personal photographs are of Herman Baron in his army uniform. There is also an obituary for Herman Baron written by art critic Elizabeth McCausland.
Arrangement:
The collection is arranged as 5 series:

Series 1: Correspondence, circa 1930s-1960s (Box 1; 0.25 linear feet)

Series 2: Writings and Notes, 1938-circa 1960s (Box 1; 8 folders)

Series 3: Printed Material, 1939-1960 (Box 2; 4 folders)

Series 4: Photographs, circa 1930s-circa 1960s (Box 2; 0.25 linear feet)

Series 5: Herman Baron Personal Papers, circa 1910s, 1940s-1960s (Box 2-3; 0.3 linear feet)
Historical Note:
Herman Baron, Stuart Davis, Yasuo Kuniyoshi, and Adolf Dehn founded the American Contemporary Art (ACA) Galleries on August 16, 1932. Located at 1269 Madison Avenue in New York City, the galleries' first show featured watercolorist Hy Cohen. Baron encouraged freedom of expression and did not censor the artworks displayed in his gallery. As a result, the gallery became an outlet for generally unknown and socially conscious artists, including the Social Realists.

Born in Lithuania in 1892, Herman Baron immigrated to the United States as a child. He served in World War I and later attended New York University. Baron founded and edited Glazier's Journal (later Glass Digest) in 1924 as the first journal for the professional glazing trade. Additionally, he wrote short stories and plays for American Hebrew and Young Israel.

In response to economic issues facing the art market during the depresssion of 1930s, ACA Galleries organized relief efforts to financially support their artists. During this period, the gallery became closely allied with militant artists' organizations and some of the more politically radical artists. In 1935, the ACA Galleries and Herman Baron hosted the first meeting of the American Artists' Congress in the gallery space.

The ACA Galleries featured exhibitions of works by artists David Burliuk, Stuart Davis, Philip Evergood, William Gropper, Robert Gwathmey, Joe Jones, Rockwell Kent, Lee Krasner, Yasuo Kuniyoshi, Lewis Mumford, Louise Nevelson, Alton Pickens, Moses Soyer, Raphael Soyer, Max Weber, Art Young, and others. Baron also organized exhibitions of many artists employed by or associated with the Works Progress Administration of the federal arts program. Due to the progressive nature of the works of art found in the ACA Galleries, Herman Baron came under considerable criticism during the McCarthy Era. Baron was condemned by Representative George A. Dondero for supporting "un-American" sympathies and was forced often to defend his gallery and artists.

For years the gallery focused on artists rights and supporting the work of artists, rather than a profit. In the 1950s, a shift occurred when Baron's nephew Sidney Bergen initiated professional business practices and transformed the gallery into a profitable venture. Now located at 529 West 20th Street in New York City, ACA Galleries continues to promote and support various social causes.
Related Material:
The Archives of American Art holds the Herman Baron papers, dating from 1937-1967 which were donated by Syracuse University, George Arents Research Library in 1984. Some exhibition catalogs may be found here.
Provenance:
Ella Baron, widow of the ACA Galleries' founder Herman Baron, donated the records to the Archives of American Art in 1965 and 1966.
Restrictions:
Use of original papers requires an appointment.
Rights:
The ACA Galleries records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art galleries, Commercial -- New York (State) -- New York  Search this
Art, American  Search this
Art dealers -- New York (State) -- New York  Search this
World War, 1914-1918  Search this
Politics in art  Search this
Gallery directors -- New York (State) -- New York  Search this
Genre/Form:
Writings
Photographs
Citation:
ACA Galleries records, 1917-1963. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.acagall
See more items in:
The ACA Galleries records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-acagall
Online Media:

Arnold Newman / Poul Eric Tøjner, Pierre Borhan, Lars Schwander

Author:
Newman, Arnold 1918-2006  Search this
Tøjner, Poul Erik  Search this
Borhan, Pierre  Search this
Schwander, Lars 1957-  Search this
Patrimoine photographique (Paris, France)  Search this
Louisiana (Museum : Humlebæk, Denmark)  Search this
Subject:
Newman, Arnold 1918-2006  Search this
Physical description:
64 p. : ill. (some col.), ports. ; 26 cm
Type:
Exhibitions
Date:
2002
[2002]
Topic:
Portrait photography  Search this
Photography, Artistic  Search this
Call number:
TR647 .N49 2002
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_782158

Downtown Gallery records

Creator:
Downtown Gallery  Search this
Names:
American Folk Art Gallery  Search this
Boris Mirski Gallery (Boston, Mass.)  Search this
Ernest Brown & Phillips  Search this
Our Gallery (New York, N.Y.)  Search this
Breinin, Raymond, 1910-  Search this
Broderson, Morris, 1928-2011  Search this
Brook, Alexander, 1898-1980  Search this
Burlin, Paul, 1886-1969  Search this
Cahill, Holger, 1887-1960  Search this
Carlen, Robert, 1906-1990  Search this
Cikovsky, Nicolai, 1894-  Search this
Coleman, Glenn O., 1887-1932  Search this
Crawford, Ralston, 1906-1978  Search this
Davis, Stuart, 1892-1964  Search this
Demuth, Charles, 1883-1935  Search this
Doi, Isami, 1903-1965  Search this
Dole, William, 1917-  Search this
Dove, Arthur Garfield, 1880-1946  Search this
Felix Landau Gallery  Search this
Fredenthal, David, 1914-1958  Search this
Garbisch, Edgar  Search this
Guglielmi, Louis, 1906-1956  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Halpert, Samuel, 1884-1930  Search this
Harnett, William Michael, 1848-1892  Search this
Hart, George Overbury, 1868-1933  Search this
Hartley, Marsden, 1877-1943  Search this
Karfiol, George  Search this
Karolik, Maxim  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Lane, William H.  Search this
Laurent, Robert, 1890-1970  Search this
Lawrence, Jacob, 1917-2000  Search this
Lea, Wesley  Search this
Levi, Julian E. (Julian Edwin), 1900-1982  Search this
Levine, Jack, 1915-2010  Search this
Lewandowski, Edmund, 1914-  Search this
Marin, John, 1870-1953  Search this
Morris, George L. K., 1905-  Search this
Nakian, Reuben, 1897-1986  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Osborn, Robert Chesley, 1904-1994  Search this
Pascin, Jules, 1885-1930  Search this
Pattison, Abbott L. (Abbott Lawrence), 1916-1999  Search this
Pippin, Horace, 1888-1946  Search this
Pollet, Joseph C., 1897-1979  Search this
Rattner, Abraham  Search this
Rockefeller, Abby Aldrich  Search this
Saklatwalla, Beram K.  Search this
Shahn, Ben, 1898-1969  Search this
Sheeler, Charles, 1883-1965  Search this
Siporin, Mitchell, 1910-1976  Search this
Spencer, Niles, 1893-1952  Search this
Stasack, Edward  Search this
Steichen, Edward, 1879-1973  Search this
Steig, William, 1907-  Search this
Stella, Joseph, 1877-1946  Search this
Stieglitz, Alfred, 1864-1946  Search this
Storrs, John Henry Bradley, 1885-1956  Search this
Tam, Reuben  Search this
Tannahill, Robert Hudson  Search this
Tseng, Yu-ho, 1924-  Search this
Varian, Dorothy, 1895-1985  Search this
Walters, Carl, 1883-1955  Search this
Webb, Electra Havemeyer  Search this
Weber, Max, 1881-1961  Search this
Wilde, Isabel Carleton, 1877?-1951  Search this
Zajac, Jack, 1929-  Search this
Zerbe, Karl, 1903-1972  Search this
Zorach, Marguerite, 1887-1968  Search this
Zorach, William, 1887-1966  Search this
Photographer:
Adams, Ansel, 1902-1984  Search this
Bry, Doris  Search this
Karfiol, Bernard, 1886-1952  Search this
Klein, Carl  Search this
Maya, Otto  Search this
Newman, Arnold, 1918-2006  Search this
Ray, Man, 1890-1976  Search this
Reynal, Kay Bell, 1905-1977  Search this
Siegel, Adrian  Search this
Sunami, Soichi, 1885-1971  Search this
Valente, Alfredo  Search this
Van Vechten, Carl, 1880-1964  Search this
Yavno, Max  Search this
Extent:
109.56 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Photographs
Motion pictures (visual works)
Date:
1824-1974
bulk 1926-1969
Summary:
The records of the Downtown Gallery date from 1824 to 1974 (bulk 1926-1969) and measure 109.56 linear feet. The records present a comprehensive portrait of a significant commercial gallery that operated as a successful business for more than forty years, representing major contemporary American artists and engendering appreciation for early American folk art. There is an unprocessed addition to this collection dating circa 1970 of a single financial/legal document.
Scope and Content Note:
The Downtown Gallery records constitute 109.56 linear feet on 167 reels of microfilm. The records are dated 1824 to 1974 with bulk dates from 1926 to 1969. There is an unprocessed addition to this collection dating circa 1970 of a single financial/legal document.

The Downtown Gallery was established in 1926 as Our Gallery and operated under the name Downtown Gallery from 1927 until 1973. Nineteenth-century material consists of items acquired by Edith Gregor Halpert for research purposes or to document works of art in the gallery's inventory. The few records postdating the closing of the gallery relate to the estate of Edith Gregor Halpert.

The extensive records of the Downtown Gallery present a comprehensive portrait of a significant commercial gallery that operated as a successful business for more than forty years, representing major contemporary American artists and engendering appreciation for early American folk art. Edith Halpert, the gallery's founder and director, was an influential force in the American art world for a large part of the twentieth century.

Personal papers are intermingled with the business records of the Downtown Gallery. Many of the artists represented by the gallery were Halpert's personal friends, and over the years she developed social relationships and friendships with many clients. These relationships are reflected by the contents of the records, especially the correspondence, some of which is purely personal. In addition, there are a small number of letters from relatives, photographs of Halpert's family, home and friends, and limited information about her country house and personal finances.

The Downtown Gallery records consist largely of correspondence with collectors, including Edgar and Bernice Chrysler Garbisch, Preston Harrison, Mr. and Mrs. Maxim Karolik, William H. Lane, Abby Aldrich Rockefeller, Beram K. Saklatwalla, Robert Tannahill, and Electra Havemeyer Webb; with dealers, including robert Carlen, Landau Gallery, Leicester Galleries, Mirski Gallery, and Isabel Carleton Wilde; and with large numbers of curators and museum directors, including many affiliated with university museums. In addition, there is correspondence concerning routine gallery business and administrative affairs.

Artist files and an extensive series of notebooks (American Folk Art Gallery notebooks, artist notebooks, and publicity notebooks) compiled by gallery staff contain a wide variety of material and are a rich source of information about individual artists and the Downtown Gallery's exhibition history.

Business records include exhibition records, stock records, sales records, transit records, financial records, lists of artwork and clients, legal documents, minutes, insurance records, research files, and architectural plans.

Writings by Edith Gregor Halpert consist of articles on American folk art, speeches, and short stories; also included are her school notebooks and "Daily Thoughtlets" compiled at age seventeen. All writings by other authors are on art subjects, and most are texts or introductions for exhibition catalogs.

Among the miscellaneous records are biographical material on Edith Gregor Halpert and Samuel Halpert, works of art by Edith Gregor Halpert and other artists, artifacts, and audiovisual materials. The artifacts include wooden weather vane molds and supporting documentation as well as awards presented to Halpert. Audiovisual materials are 16-mm motion picture films of the Westinghouse Broadcasting Corporation television series, America: The Artist's Eye, produced between 1961 and 1963 in association with Jensen Productions. An additional 16-mm motion picture film includes "tails out" footage of Charles Sheeler at home and at work, circa 1950. A copy of the program about Sheeler, along with the "tails out" material, is also on videocassette. In addition, there is a sound recording of a talk on collecting given by Halpert's client, folk art collector Maxim Karolik, in 1962.

Printed matter consists of items produced by the Downtown Gallery, including exhibition catalogs, checklists, invitations, announcements, and press releases. There are also news clippings about Halpert, the Downtown Gallery, and the Edith Gregor Halpert Collection; other art-related clippings are arranged topically. Miscellaneous printed matter not produced by the Downtown Gallery includes newsletters, press releases, publications of art organizations, and reproductions of artwork. A selection of twenty-five volumes from the personal library of Edith Gregor Halpert has been retained.

The photographs series includes images of people: Edith Gregor Halpert, family, friends, also many images of her dog, Adam, and views of her country home in Newtown, Connecticut. Other photographs of people include portraits of artists, most of whom were affiliated with the Downtown Gallery. There are also photographs of works of art (with a large number of black-and-white negatives, 35-mm color slides, and glass plate negatives) and of exhibitions, of the exterior and interior of the Downtown Gallery, and of an award presented to Halpert.

See Appendix B for a chronological list of Downtown Gallery exhibitions.
Arrangement:
It is not certain how well arranged the files were while still the property of the gallery, though Halpert's background as an efficiency expert and her talents as an organizer suggest that the gallery's records were well maintained. It is clear, however, that much of the original order has been lost; Halpert is known to have removed files, including many records concerning the Harnett-Peto controversy.

Correspondence (Series 1) is arranged chronologically, and Artist Files (Series 2) is arranged alphabetically. The remaining series are organized into subseries that reflect either a function or specific record type, and the arrangement of each is explained in the detailed series descriptions. Glass plate negatives are housed separately and closed to researchers.

The Downtown Gallery records are arranged into eight series:

Series 1: Correspondence, 1926-1974, undated (Boxes 1-22; 22 linear ft.; Reels 5488-5545)

Series 2: Artist Files, A - Z, 1917-1970, undated (Boxes 23-27; 5 linear ft.; Reels 5545-5558)

Series 3: Notebooks, 1835, 1874, circa 1880-1969, undated (Boxes 28-59; 32.5 linear ft.; Reels 5558-5603)

Series 4: Business Records, 1925-1974, undated (Boxes 60-94, OV 95, OV 96, OV 97; 34.5 linear ft.; Reels 5603-5636)

Series 5: Writings, 1917-1968, undated (Box 98; 1 linear ft.; Reels 5636-5638)

Series 6: Miscellaneous Material, circa 1835, 1883, 1913-1970, undated (Boxes 99-101, 103, OV 102, OV 104, FC 120-124; 3.25 linear ft.; Reels 5638-5639)

Series 7: Printed Matter, 1824-1865, 1920-1969, undated (Boxes 105-108; 4 linear ft.; Reels 5640-5647)

Series 8: Photographs, circa 1880-1960s, undated (Boxes 109-118, OV 119, MGP 4; 8.75 linear ft.; Reels 5647-5654)
Historical Note:
As a very young woman, Edith Gregor Halpert (1900-1970) attended art school sporadically while pursuing a business career that began in advertising and included work as a personnel manager and efficiency expert. She continued her business career after marrying artist Samuel Halpert (1884-1930) in 1918 and eventually became a highly paid executive with an investment firm. Well-invested bonuses provided the capital for Halpert to open her own business.

In November 1926, Halpert and business partner Berthe (Bea) Kroll Goldsmith opened Our Gallery at 113 West 13th Street for the purpose of promoting a group of progressive American artists, many of whom were friends of Edith and Samuel Halpert. The following year, at the suggestion of William Zorach, the gallery changed its name to Downtown Gallery--emphasizing its Greenwich Village location, unique for the time--and the name survived despite relocation to midtown Manhattan (to 43 East 51st Street in 1940, to 32 East 51st Street in 1945, and to the Ritz Tower Concourse at 465 Park Avenue in 1965).

The Downtown Gallery specialized in contemporary American art. An early gallery brochure states: "The Downtown Gallery has no prejudice for any one school. Its selection is driven by quality--by what is enduring--not by what is in vogue." Some of the artists affiliated with the Downtown Gallery from its early years were Stuart Davis, "Pop" Hart, Yasuo Kuniyoshi, Charles Sheeler, Max Weber, and William and Marguerite Zorach. In its original location, the gallery served as a place where artists (many of whom lived and worked in the neighborhood), collectors, and others interested in American art met in the evenings for coffee, conversation, and sometimes lectures or other formal programs. Holger Cahill (1887-1960) entered into a partnership with Halpert and Goldsmith in 1929 when they founded the American Folk Art Gallery, the first ever of its kind; the American Folk Art Gallery opened on the second floor of the Downtown Gallery in 1931. Folk art was an important feature of the gallery throughout its history, though the name American Folk Art Gallery does not appear to have been used consistently. Because the profit margin was high and Abby Aldrich Rockefeller bought avidly for her growing collection, folk art revenues subsidized contemporary art exhibitions and helped the gallery survive the Depression. The Daylight Gallery, also run by Halpert and Goldsmith, opened in 1930 in a separate structure behind the main gallery, and continued until the Downtown Gallery moved to East 51st Street in 1940. Its purpose was to exhibit painting and sculpture to best advantage in a gallery designed to diffuse light perfectly and to demonstrate how works of art may be used as architectural embellishments in a modern building. Other subsidiary galleries operated by the Downtown Gallery were the John Marin Room, opened in 1950 and run by John Marin, Jr., and the Ground-Floor Room, 1951, "dedicated to the adventurous, less experienced collector willing to gamble on his taste and ours."

From the beginning, Halpert endeavored to hold prices at reasonable levels; she employed aggressive marketing and advertising techniques learned from her career in business and banking, offering extended payment plans without interest to buyers of modest means. She recognized the value of placing representative works by Downtown Gallery artists in important art museums and public collections, even if a price reduction was necessary to achieve this goal.

After purchasing Goldsmith's share of the business in 1935, Halpert, needing to earn a profit, reorganized the gallery as a more overtly commercial venture. The roster of artists was reduced to twelve. Those eliminated tended to be younger artists, most of whom were supported by WPA work. Eventually, the roster expanded; new additions were usually artists not based in New York, whom Halpert learned of through her work as an adviser to the WPA Federal Art Project. Halpert had long courted Alfred Stieglitz's artists, and in the years following his death in 1946 a number of them affiliated with the Downtown Gallery. Another change was that the Downtown Gallery no longer represented only living American artists; the gallery began handling a number of estates, most notably that of Arthur Dove. In 1953, the roster of Downtown Gallery artists shifted dramatically when Halpert entered into an agreement with Charles Alan. Alan had been hired in 1945 with the understanding that he was being trained to run the Downtown Gallery upon Halpert's retirement five years in the future. Eight years later, it became apparent that Halpert was not going to retire; without consulting the artists, she transferred representation of all artists who had joined the Downtown Gallery since 1936 to the newly established Alan Gallery.

Exhibitions at the Downtown Gallery included both solo exhibitions and group shows usually built around a theme; most lasted about a month. Annual exhibitions (sometimes titled anniversary exhibitions) opened the exhibition season each fall and showcased the gallery's artists. The Downtown Gallery's Christmas show, a long-standing event that encouraged purchases of original art for holiday gift giving, was eagerly anticipated as it featured fine artwork at very reasonable prices. Between 1927 and 1935, the Downtown Gallery was the site of the American Print Makers Society annual exhibitions. During its forty-seven years in operation, the Downtown Gallery organized many important, influential exhibitions. American Ancestors (1931) presented American folk art as the precursor to and direct influence on the contemporary art featured by the Downtown Gallery. The title was used for a number of subsequent exhibitions and became a synonym for folk art. American Folk Art Sculpture: Index of American Design, Federal Art Project (1937) featured drawings by WPA artists recording objects that documented America's material culture and artistic heritage. Along with the Index of American Design drawings, the exhibition included a number of the original sculptures from the Downtown Gallery's inventory and borrowed from folk art collector Abby Aldrich Rockefeller.

William Harnett: "Nature-Vivre" (1939) reintroduced the nineteenth-century artist whose trompe l'oeil paintings had been collected by Halpert over a period of years expressly for this purpose. Between 1947 and 1949, a controversy ensued over paintings--some of which had been sold by the Downtown Gallery--with the signature of William Harnett but discovered by San Francisco Chronicle art critic Alfred Frankenstein to be the work of Harnett's student, John Peto. Halpert had purchased the questionable pieces in good faith, completely unaware of the added signatures, and she defended her attributions, despite evidence to the contrary. Frankenstein publicized his discovery widely; while neither Halpert nor the Downtown Gallery were named directly, their identity was apparent to his well-informed readers. The situation was further inflamed when additional articles by Frankenstein failed to include new evidence favorable to Halpert and the Downtown Gallery.

Another major exhibition was American Negro Art, 19th and 20th Centuries (1941-1942), the first show of its kind held at a commercial gallery. Held at the Downtown Gallery, the exhibition was sponsored by a committee of prominent citizens including Mayor Fiorello La Guardia, Archibald MacLeish, A. Philip Randolph, and Eleanor Roosevelt. Among its aims were to raise money for the Negro Art Fund, to promote museum acquisitions of work by black artists, and to encourage galleries to represent the living participants. In addition to providing its facilities, the Downtown Gallery donated all sales commissions to the Negro Art Fund and added Jacob Lawrence to its roster of artists.

Edith Gregor Halpert played important roles in a number of exhibitions and major art projects that were not connected with the Downtown Gallery. She served as organizer and director of the First Municipal Exhibition of American Art, Atlantic City, New Jersey, in 1929. Beginning in 1932, Halpert was extensively involved with Radio City Music Hall arts projects. She conceived, organized, and handled publicity for the First Municipal Art Exhibition (also known as the Forum Exhibition) sponsored by Mayor Fiorello La Guardia and held at Radio City Music Hall in 1934. As an adviser to the WPA Federal Art Project, Halpert spent the summer of 1936 in Washington, D.C., developing its Exhibition and Allocation Program, which registered works of art arriving from regional project centers and selected pieces for traveling exhibitions that circulated throughout the country. In 1937, she formed the Bureau for Architectural Sculpture and Murals, a central clearinghouse from which architects could review and select work by artists and sculptors experienced in working in architectural settings. Halpert served as curator of the art section of the American National Exhibition, sponsored by the United States Information Agency and the U.S. Department of Commerce; she traveled to the Soviet Union with the exhibition, installed the show, and gave daily gallery talks in Russian. In 1952, to promote art history, Halpert established the Edith Gregor Halpert Foundation. Its activities included assisting universities to fund scholarships for the study of contemporary American art and championing the rights of artists to control the sale and reproduction of their work. For her "outstanding contribution to American art," Halpert received the Art in America Award in 1959. She also received a USIA Citation for Distinguished Service in 1960, and the University of Connecticut awarded her its First Annual International Silver Prize for "distinguished contribution to the arts" in 1968.

In addition to being an art dealer, Edith Gregor Halpert was also a collector of contemporary American art and American folk art. For many years, Halpert and the Corcoran Gallery of Art, Washington, D.C., discussed a gift of a substantial number of paintings to form the nucleus of a new wing to be called the Gallery of 20th-Century American Art. After numerous disagreements and misunderstandings by both parties, the plan was abandoned. While negotiations were still in progress, the Edith Gregor Halpert Collection was exhibited in two installments, 1960 and 1962, at the Corcoran Gallery of Art. During the following two years, portions of her collection traveled to Santa Barbara, Honolulu, and San Francisco. Other exhibitions, drawn completely from the Edith Gregor Halpert Collection, include American Modernism: The First Wave, Painting from 1903-1933, presented at Brandeis University Museum of Art, 1963; Six Decades of American Art, shown at Leicester Galleries, London, 1965; Image to Abstraction, held at Amon Carter Museum, 1967; and Edith Halpert and the Downtown Gallery, exhibited at the University of Connecticut, 1968. The Edith Gregor Halpert Collection was eventually sold at auction by Sotheby Parke-Bernet, 1973.

Dr. Dianne's Tepfer's dissertation (1989) on Edith Gregor Halpert was an invaluable resource in arranging and describing the records of Downtown Gallery; her chronology was consulted often in constructing this Historical Note.

1900 -- born Edith Gregoryevna Fivoosiovitch to Gregor and Frances Lucom Fivoosiovitch, Odessa, Russia

1906 -- arrived in New York City with recently widowed mother and older sister; family name changed to Fivisovitch

1916 -- employed as a comptometer operator at Bloomingdale's department store; studied drawing with Leon Kroll and Ivan Olinsky at the National Academy of Design; further shortened name to Fein

1916-1917 -- attended life drawing and anatomy classes taught by George Bridgeman at the Art Students' League; employed in foreign and advertising offices, R. H. Macy department store

1917 -- met artist Samuel Halpert at John Weichsel's People's Art Guild

1917-1918 -- employed as advertising manager, Stern Brothers department store

1918-1919 -- employed as systematizer (efficiency expert), investment firm of Cohen, Goldman

1918 -- married Samuel Halpert

1919-1920 -- employed as systematizer, investment firm of Fishman & Co.; attended writing courses, Columbia University

1921-1925 -- employed as personnel manager, systematizer, and head of correspondence at investment banking firm of S. W. Strauss & Co.; eventually appointed to the board of directors

1924 -- first exposed to folk art at the home of sculptor Elie Nadelman

1925 -- visited Paris with Samuel Halpert (June-September)

1926 -- visited Ogunquit, Maine, with Samuel and was further exposed to antiques and folk art; other summer guests included artists Stefan Hirsch, Bernard Karfiol, Walt Kuhn, Yasuo Kuniyoshi, Robert Laurent, Katherine Schmidt, Niles Spencer, and Marguerite and William Zorach; opened Our Gallery, devoted to modern American art, at 113 West 13th Street with business partner Berthe Kroll Goldsmith

1927 -- separated from Samuel, who moved to Detroit to teach at the Society for Arts and Crafts; changed name of Our Gallery to Downtown Gallery, at the suggestion of William Zorach

1928 -- Abby Aldrich Rockefeller first visited the Downtown Gallery; published George O. "Pop" Hart: 24 Selections from His Work by Holger Cahill, first of a projected series of ten Downtown Gallery monographs

1929 -- initiated divorce proceedings in Detroit; founded the American Folk Art Gallery, the first of its kind, with business; partners Berthe Kroll Goldsmith and Holger Cahill; served as organizer and director of the First Municipal Exhibition of American Art, Atlantic City

1930 -- divorce granted; present at the death of Samuel Halpert; opened the Daylight Gallery in a separate structure behind the Downtown Gallery specially designed to display works of art under optimal conditions; published Max Weber by Holger Cahill, second (and last) of the Downtown Gallery monographs

1931 -- opened the American Folk Art Gallery on second floor of the Downtown Gallery

1932 -- purchased house in Newtown, Connecticut; became extensively involved with Radio City Music Hall arts projects

1934 -- conceived, organized, and handled publicity for the First Municipal Art Exhibition, also called the Forum Exhibition, sponsored by Mayor Fiorello La Guardia and held at Radio City Music Hall

1935 -- bought Goldsmith's share of the business and, as sole owner, reorganized the gallery

1936 -- served as adviser to WPA Federal Art Project, charged with developing the Exhibition and Allocation Program

1937 -- formed Bureau for Architectural Sculpture and Murals

1939 -- organized Nature-Vivre; exhibition of paintings by the rediscovered William Harnett, rekindling interest in trompe l'oeil painting

1940 -- Downtown Gallery moved to 43 East 51st Street; cataloged and installed the Abby Aldrich Rockefeller Collection of American Folk Art at Williamsburg, Virginia

1941 -- American Negro Art, 19th and 20th Centuries

1945 -- Downtown Gallery moved to 32 East 51st Street; hired Charles Alan as assistant director

1946 -- Downtown Gallery began representing former Alfred Stieglitz artists Charles Demuth, Marsden Hartley, John Marin, and Georgia O'Keeffe

1947-1949 -- embroiled in controversy over paintings with the signature of William Harnett but discovered to be the work of Harnett's student John Peto

1950 -- opened the John Marin Room, operated by John Marin, Jr.

1951 -- opened the Ground-Floor Room, for works by new artists

1952 -- established the Edith Gregor Halpert Foundation

1953 -- transferred representation of newer Downtown Gallery artists to the Alan Gallery

1954 -- published The ABCs for Collectors of Contemporary Art by John I. H. Baur

1959 -- traveled to Moscow as curator of the art section, "American National Exhibition," and gave daily gallery talks in Russian; received Art in America Award

1960 -- exhibited selections from the Edith Gregor Halpert Collection at the Corcoran Gallery of Art, Washington, D.C.; awarded USIA Citation for Distinguished Service and the Merit Award Emblem

1962 -- second exhibition of the Edith Gregor Halpert Collection at the Corcoran Gallery of Art; began discussions, ultimately abandoned, for the transfer and installation of a large gift of paintings from the Edith Gregor Halpert Collection to a special wing of the Corcoran Gallery of Art

1963 -- American Modernism: The First Wave, Painting from 1903-1933, an exhibition based entirely on the Edith Gregor Halpert Collection, Brandeis University Museum of Art

1965 -- Downtown Gallery moved to smaller quarters, Ritz Tower Concourse, 465 Park Avenue; open by appointment only; Six Decades of American Art, from the Edith Gregor Halpert Collection, Leicester Galleries, London

1967 -- Image to Abstraction, an exhibition based entirely on the Edith Gregor Halpert Collection, Amon Carter Museum, Fort Worth, Texas

1968 -- the Downtown Gallery ceased to be the exclusive representative of Abraham Rattner, Ben Shahn, Georgia O'Keffe, and Max Weber, and the estates of Stuart Davis, and Marguerite and William Zorach were withdrawn from the gallery; Edith Halpert and the Downtown Gallery exhibition at the Museum of Art, the University of Connecticut; awarded the First Annual International Silver Prize medal for "distinguished contribution to the arts," University of Connecticut

1970 -- died, New York City

1970-1973 -- the Downtown Gallery continued limited operation under the direction of niece, Nathaly Baum

1972-1978 -- the Downtown Gallery records donated to the Archives of American Art by Nathaly Baum, executor of the Edith Gregor Halpert estate

1973 -- Sotheby Parke-Bernet auction sale of the Edith Gregor Halpert Collection

1997-1999 -- arrangement, description, and microfilming of Downtown Gallery records and publication of this finding aid funded by a grant from the Henry Luce Foundation, Inc.
Appendix B: Chronological List of Downtown Gallery Exhibitions:
Below is a chronological listing of Downtown Gallery exhibitions, culled from catalogs and checklists, invitations and announcements, press releases, newspaper reviews, advertisements, lists compiled by gallery staff, and The Archives of American Art Collection of Exhibition Catalogs (1979). Exhibition titles indicated on the announcement or used in a published review sometimes differ from the title of the corresponding exhibition catalog or printed checklist. Catalogs or announcements for most shows will be found with the printed matter produced by the Downtown Gallery (Series 7.1), in the publicity notebooks (Series 3.3.), and/or with artist files (Series 2). Microfilm reel and frame number(s) are noted in parentheses for catalogs or exhibition announcements recorded in The Archives of American Art Collection of Exhibition Catalogs that are not among the Downtown Gallery records.

Undated -- Jan. 24-Feb. 12: American Landscapes: Paintings and Water Colors Mar. 3-28 [1964?]: Abraham Rattner: New Paintings, 1961-1963 June: Art for 13,000,000 Sept. 17-27: Abraham Rattner: Stained Glass Window Designed for the De Waters Art Center, Flint, Michigan

1926 -- Nov. [6-?}: Opening Exhibition: Small Works by Leading American Contemporary Artists Dec. [4-?]: The Christmas Exhibition, $10-50

1927 -- Jan. 8-Feb. 4: American Marines Jan. 8-Feb. 4: Print Room Selection Nov. 26-Dec. 9: Frank Osborn: Sculpture Lamps Nov. 26-Dec. 9: Stuart Davis May [10-?]: Portfolio Selection, $5-25 Dec. 10-31: American Print Makers Exhibition Nov. 3-23: "Pop" Hart: One-Man Show Oct. 13-Nov. 3: Ogunquit Exhibition: Summer Work by 12 Ogunquit Residents Mar. 1-19: George C. Ault: Water Colors and Drawings Feb. [5-?]: George Overbury "Pop" Hart Apr. [11-?]: Spring Exhibitions: Pictures Suggestive of the Season Mar. 21-Apr. 9: Walt Kuhn Lighographs: `New Trapeze Ladies'

1928 -- Feb. 14-Mar. 4: Walt Kuhn: Recent Works Jan. 24-Feb. 12: 75 Years of American Landscapes Mar. 6-25: Samuel Halpert: Recent Work Dec. 10-31: American Print Makers 2nd Annual Exhibition Jan. 3-22: Joseph Pollett: Recent Paintings and Watercolors Oct. 7-28: Paris by Americans Oct. 29-Nov. 17: Max Weber: New Lithographs, $10-50 Nov. 19-Dec. 8: George C. Ault: Paintings, $30-300 Apr. 23-May 13: May Flowers May 19-June 13: Art for Everybody, $10-50 Mar. 26-Apr. 15: Ernest Fiene: Lithographs Apr. 2-22: Marguerite Zorach: Paintings and Drawings

1929 -- Nov. [19-?]: Glenn Coleman: Temperas June 3-14: Oils, Sculpture, Water Colors, Monotypes, Drawings, Pottery May [14-?]: Joseph Pollet: Watercolors May [14-?]: Lithographs by A. Walkowitz Mar. 26-Apr. 14: José Orozco: Paintings of New York City Apr. 23-May 14: Walt Kuhn: Loan Paintings Feb. 12-Mar. 23: Stefan Hirsch: Paintings Mar. 4-Apr. 14: Duncan Ferguson: Sculpture Jan. 21-Feb. 10: Drawings by 8 American Artists (Hart, Karfiol, Kuhn, Pascin, Walkowitz, Weber, M. Zorach, and W. Zorach) Jan. 2-20: Ann Goldthwaite: Recent Work Dec. 10-31: American Print Makers 3rd Annual Exhibition Oct. 29-Nov. 17: Joseph Pollet: Recent Paintings Oct. 7-28: Americans Abroad (Davis, Fiene, Ganso, Hart, Hirsch, Pascin, and Wilenchick)

1930 -- Oct. [25-?]: Reuben Nakian: Sculpture Nov. 18-Dec. 16: Glenn Coleman: Paintings Sept. 30-Oct. 25: Summer Landscapes, 1930: Paintings by American Contemporary Artists Summer: Important Painting and Sculpture by Leading American Artists in the Daylight Gallery May 26-July 1: Small Painting, Sculpture, and Drawings by Leading American Contemporary Artists, $100 or Less Apr. 19-May 10: Daylight Gallery Opening Exhibition Oct. [25-?]: Julia Kelly: Painting Apr. [8-?]: Ben Shahn: Paintings and Drawings Mar. 11-30: Wood Gaylor: Paintings Feb. [11-?]: Marguerite Zorach: Recent Paintings of New England and New York Jan. 28-Feb. 15: 33 Moderns: The Downtown Gallery Exhibition of Paintings, Sculpture, Watercolors, Drawings, and Prints by 33 American Contemporary Artists [at the Grand Central Galleries] Jan. [25-?]: Stuart Davis: Recent Paintings Dec. 8-31: American Print Makers 4th Annual Exhibition Jan. [2-?]: Abraham Walkowitz: Heads and Flowers May [10-?]: "Pop" Hart: Paintings from Africa and Europe

1931 -- Jan. 3-25: Jules Pascin Memorial Exhibition Jan. [27-?]: William Zorach: New Sculpture Feb. [14-?]: Joseph Pollett: Paintings Feb. 2-16: Isabella Howland: Paintings Dec. 14-31: American Ancestors: Masterpieces by Little Known and Anonymous American Painters, 1790-1890 Mar. 16-30: 7 Masters of Water Color (Demuth, Dickinson, Hart, Marin, Sheeler, Walkowitz, Zorach) Apr. [29-?]: Peggy Bacon: Caricature Portraits Mar. 31-Apr. 9: Stuart Davis: Recent Paintings Nov. [18-?]: Charles Sheeler: Recent Paintings May 12-31: Flowers: Paintings in Oil and Water Color by American Contemporary Artists Oct. 5-25: `Artists' Models,' Figure Paintings by Leading Contemporary American Artists June 2-22: Paintings, Water Colors, Drawings, Sculpture by Leading Contemporary American Artists Oct. 28-Nov. 17: Karl Knaths: Paintings Dec. 7-31: American Print Makers 5th Annual Exhibition

1932 -- May 31-June 30: Paintings and Sculpture by Outstanding American Artists Dec. 28-Jan. 14: William Zorach: Spirit of the Dance in Original Plaster Dec.: Christmas Exhibition: Drawings, Paintings, Sculpture, $10-100 Feb. 20-Mar. 3: Peggy Bacon: Recent Paintings (N433: 515) Jan. 5-18: American Modern Art [arranged by the Downtown Gallery at Knoedler & Co., Inc., Chicago] Oct. 4-22: Prelude to the Season: New Paintings and Sculpture by American Contemporaries Dec. 9-31: Carl Walters: Sculpture and Pottery in Ceramic Jan. 5-24: Alexander Brook: Recent Paintings Jan. [24-?]: Paintings by Contemporary American Painters Feb. 23-Mar. 7: Wood Gaylor: Recent Paintings Oct. 4-22: Bernard Sanders: Graphics Dec. 5-31: American Print Makers 6th Annual Exhibition Feb. [24-?]: Winter in Maine: Recent Watercolors by William Zorach Mar. 22-Apr. 3: Joseph Pollet: Recent Paintings Nov. 18-Dec. 9: Stefan Hirsch: Recent Work--New York and Mexico Apr. 5-17: The Passion of Sacco-Vanzetti: Gouaches by Ben Shahn Apr. 19-May 15: Pictures of New England by a New Englander: Recent Paintings of Dogtown, Cape Ann, Mass., by Marsden Hartley [errata slip stapled to cover of the copy filmed on Br10: 660-663 indicates the dates were changed to Apr. 26-May 15, 1932] May 17-29: 3 Painters: Baum, Botkin, Schultz Oct. 25-Nov. 13: Dorothy Varian: Recent Paintings

1933 -- Jan. 17-Feb. 4: Bernard Karfiol: Paintings and Drawings Mar. 21-Apr. 8: Major Works by Distinguished American Artists Feb. [28-?]: Watercolors by Stuart Davis Feb. 27-Mar. 18: Reuben Nakian: Sculpture Portraits of 10 Artists Feb. 7-25: Yasuo Kuniyoshi: Recent Paintings Oct. 3-14: American Ancestors, 2nd Exhibition: Masterpieces by Little Known and Anonymous American Artists: 1720-1870 May 23-June 30: Paintings and Sculpture: Recent Works by Leading American Contemporaries, at $100 May 2-20: Ben Shahn: The Tom Mooney Case Apr. 11-29: Nicolai Cikovsky: Recent Paintings Nov. 14-Dec. 14: Drawings and Rare Prints by "Pop" Hart Dec. 5-31: American Print Makers 7th Annual Exhibition Oct. 24-Nov. 11: Painting and Sculpture by Leading Contemporaries

1934 -- Jan. 23-Feb. 10: Alexander Brook: Recent Paintings Feb. 13-Mar. 3: Babe Ruth by Reuben Nakian Jan. 3-20: Ernest Fiene: Painter of the American Scene Dec. 13-31: Practical Manifestations in American Art Apr. 3-21: Katherine Schmidt: Paintings Apr. 25-May 12: Stuart Davis: Recent Paintings Dec. [3-?]: Group Show Mar. 13-31: Recent Paintings by Joseph Pollet Oct. 1-14: Hamilton Easter Field Art Foundation Collection of Paintings and Sculpture Oct. 23-Nov. 3: Marguerite Zorach: Paintings and Drawings May 15-June 15: Paintings and Sculpture: Selected Works by Leading American Contemporaries, Extraordinary Values at $100 Dec. 3-29: American Print Makers 8th Annual Exhibition Feb. 20-Mar. 3: Recent Work by Peggy Bacon Nov. 20-Dec. 8: Peggy Bacon: `Off with Their Heads,' Caricature Portraits of 38 Contemporary American Celebrities Nov. 6-17: American Drawings: Recent Work by Charles Sheeler, John Marin, Yasuo Kuniyoshi, Charles Locke, Stuart Davis, Alexander Brook

1935 -- May 1-18: Nakian: The New Deal in Portraiture Apr. 13-28: Reuben Nakian: Portrait Heads of the Present Administration May 21-June 14: Paintings and Sculpture by Leading American Artists Dec.: Carl Walters: Ceramic Sculpture and Pottery Mar. 12-30: Exhibition of 14 Paintings by 14 American Contemporaries Feb. 20-Mar. 9: Nicolai Cikovsky: Recent Paintings Apr. 10-27: Watercolor and Pastels by 14 American Artists Dec. 2-28: American Print Makers 9th Annual Exhibition Nov.: Ernest Fiene: Paintings Nov. [5-?]: American Folk Art: Recently Acquired Paintings and Sculpture Jan. 16-Feb. 2: Charles Burchfield and Charles Sheeler Dec. 11-28: Anne Goldthwaite: Murals of the South Jan. 16-Feb. 9: Bernard Karfiol: Watercolors and Drawings Oct. 22-Nov. 9: Opening Exhibition: Important Recent Painting and Sculpture May 21-June 14: $100 Exhibition: Extraordinary Values for Discriminating Collectors

1936 -- Oct. [28-?]: Tenth Anniversary Exhibition: American Art, 1800-1936 Dec. 13-24: American Print Makers 10th Anniversary Annual Exhibition (N428:304-305) Dec.: Christmas Gift Show Dec.: Ceramics by Carl Walters Feb. [25-?]: Watercolors by William Zorach Mar. 17-Apr. 4: Yasuo Kuniyoshi: Paintings May [5-?]: Joseph Pollet: Paintings May 26-June 12: Paintings and Sculpture: Recent Work by Leading American Contemporaries, Extraordinary Values at $100 Apr. 14-May 2: Portraits by 6 Contemporary and Early American Artists Jan. 30-Feb. 15: American Birds in Sculpture, 1785-1935 Jan. 6-25: Alexander Brooke: Paintings Dec. 2-31: Vital Statistics

1937 -- Dec. 7-31: Christmas Exhibition: Fine Works of Art as Original Gifts through June 25: Paintings and Sculpture, 1800-1937 Oct. 5-23: Paintings by 12 Younger Artists Oct. 19-Nov. 6: Fall Exhibition May 18-June 5: Joseph Steig: Watercolors May 5-29: Major Examples by Major Artists Apr. 13-May 1: Children in American Folk Art, 1725-1865: Children's Art, Their Portraits, and Their Toys Apr. [10-?]: Contemporary Americans Sept. 28-Oct. 9: American Folk Art Sculpture: Index of Design, WPA Federal Art Project Sept.: Drawings by the Index of American Design Oct. 20-Nov. 10: An Exhibition of Contemporary American Art from the Downtown Gallery of New York, Sponsored by the Atlanta Georgian and Sunday American at the High Museum of Art Mar. 9-27: The 1920s: Oils, Sculpture, Watercolors, and Drawings by 18 American Contemporaries Mar. 30-Apr. 10: Younger Artists Nov.: Dorothy Varian: Paintings Feb. 9-27: American Dogs: Recent Portraits in Oil of Champion Dogs by Fenelle and Paintings and Sculpture Portraying Dogs of the Period 1820-1860 from the American Folk Art Gallery Jan. [15-?]: David Fredenthal Feb.: Group Show

1938 -- Oct. 4-22: Americans at Home: 32 Painters and Sculptors Sept. 4-22: Folk Art Apr. [27-?]: David Fredenthal: Paintings May 25-June 17: Art for the Summer House, $15-100 Apr. 5-23: Preston Dickinson, 1891-1930: 13 Pastels Dec. 6-30: Christmas Exhibition Mar. 16-Apr. 2: Paintings by Americans: New Paintings by Karfiol, Kuniyoshi, Sheeler, and Recent Oils by Marin and O'Keeffe Nov. [15-?]: Louis Guglielmi: Paintings Feb. 15-Mar. 5: 50 American Watercolors and Pastels, 1800-1938 Dec. 6-30: Carl Walters: Ceramic Sculpture Jan. 18-Feb. 15: American Genre Paintings, 1785-1887 Nov. 2-20: John Stenvall: Paintings Jan. 5-22: Isabella Howland: 25 Sculpture Heads Jan. 25-Feb. 11: Nicolai Cikovsky: Paintings Nov. 1-12: American Ancestors: Masterpieces in American Folk Art, 1720-1860 Nov. [2-?]: Georgia O'Keeffe: Paintings

1939 -- Oct. 3-14: Paintings on Velvet, 1800-1840 Feb. [14-?]: Nathaniel Kaz: Sculpture Nov. 7-25: Contemporary American Genre: 27 Painters and Sculptors Mar. [7-?]: Katherine Schmidt: Paintings May [8-?]: Group Show Jan. 24-Feb. 11: Yasuo Kuniyoshi: Paintings Dec. 6-30: Carl Walters: Ceramic Sculpture Jan. [24-?]: Jack Levine: Paintings Mar. 28-Apr. 15: William Steig: Sculpture June 7-30: American Art, Past and Present Apr. 18-May 16: William Harnett: `Nature-Vivre' Oct. [17-?]: John Marin: 20 Drawings Jan. 4-21: Important New Paintings by American Artists: Cikovsky, Karfiol, Marin,, O'Keeffe, Sheeler, and Varian Dec. 6-30: Christmas Exhibition: Paintings, Drawings, and Sculpture, $100 or Less May [16-?]: Raymond Breinin: Paintings

1940 -- Jan. [3-?]: Mitchell Siporin: Paintings Jan. [23-?]: Rainey Bennett: Paintings Dec. 2-21: Charles Sheeler: `Power,' 6 Original Paintings Commissioned for Reproduction in the December 1940 Issue of Fortune(N433:550 551) Mar. [25-?]: Yasuo Kuniyoshi: Lithographs Mar. [25-?]: Group Show: Paintings Feb. [20-?]: Julien Levi: Paintings Mar. [18-?]: Gallery Group Dec. [9-?]: Christmas Exhibition Oct. 17-Nov. 16: Opening Exhibition [43 East 51st Street] May 13-24: Artist's Fund Exhibition Apr. 23-May 11: Review of the Season: Paintings by Leading American Artists

1941 -- Dec. 9-Jan. 3, 1942: American Negro Art: 19th and 20th Centuries Sept. 16-Oct. 11: American Folk Sculpture: Weather Vanes in Metal and Wood: 18th and 19th Centuries [?]-June 27: Summer Exhibition and William Harnett May 6-30: What Is Wrong with This Picture? Nov. 13-Dec. 6: Yasuo Kuniyoshi: Recent Paintings (Br10: 699-700) Nov. 11-Dec. 6: Bernard Karfiol Oct. 21-25: American Folk Art Sale Oct. 7-Nov. 1: New Examples by Leading American Artists Apr. 8-26: Spring: New Paintings by Outstanding Americans Feb. 25-Mar. 22: Masterpieces in American Folk Art Jan. 7-Feb. 1: The Painter Looks at Music Feb. 4-21: 13 American Paintings

1942 -- Oct. 13-31: Paintings, Cartoons, Photographs of the St. Louis Post Office Murals by Mitchell Siporin and Edward Millman Dec. 22-Jan. 9, 1943: Inter-American Folk Arts, 1700-1900: Paintings and Sculpture by Little Known and Anonymous Artists of Argentina, Chile, Colombia, Ecuador, Haiti, Mexico, Peru, U.S.A. Jan. 7-24: Watercolors and Drawings by Leading American Artists Feb. 3-28: Julian Levi Mar. 3-28: Battles & Symbols of the U.S.A.: Exhibition of Paintings and Sculpture by American Folk Artists Apr. 7-May 2: Spring Exhibition: New Paintings and Newly Discovered Paintings by William M. Harnett Apr. 7-May 2: American Folk Art May 5-29: Yasuo Kuniyoshi: Retrospective Loan Exhibition, 1921-1941 (Br10: 703-705) June 10-26: Paintings, Sculpture, Drawings by Leading American Artists Sept. 22-Oct. 10: Opening Exhibition: New Paintings and Sculpture

1943 -- Jan. 12-30: Breinin: Recent Paintings (D55: 77) Mar. 2-27: William Zorach: Selected Sculpture (D57: 632-634) Mar. 31-Apr. 24: Spring Exhibition and American Folk Art June 8-25: Summer Exhibition: American Art Oct. 5-30: 18th Annual Exhibition: American Art Oct. 27-Nov. 20: Recent Paintings in Encaustic by Karl Zerbe Nov. 23-Dec. 11: Demuth, Dickinson, "Pop" Hart, Pascin

1944 -- Nov. 14-Dec. 2: Ben Shahn: Paintings in Tempera (Br10: 707-708) Feb. 1-12: Exhibition of Paintings and Sculpture Apr. 11-May 6: Spring: New Important Paintings & Sculpture by Leading Americans Feb. 15-Mar. 11: Horace Pippin May 31-June 30: Summer Exhibition May 9-27: William Zorach Oct. 3-28: 19th Annual Exhibition: American Art Sept. 13-30: American Folk Art from the Collection of Mrs. Isabel C. Wilde

1945 -- Jan. 3-20: Suba: First One-Man Exhibition of Paintings Mar. 6-31: Julian Levi Feb. 13-Mar. 3: George L. K. Morris: Paintings, 1944 and 1945, and Sculpture, 1934-1945 (Br10: 712-714) May 1-26: 19th Annual Spring Exhibition Apr. 3-28: Yasuo Kuniyoshi: New Paintings and Drawings Oct. 15-Nov. 3: Loan Exhibition Oct. 15-Nov. 3: 20th Anniversary [opening of new quarters on East 51st Street] Dec. 4-29: Christmas Exhibition Nov. 6-Dec. 1: 20th Annual Exhibition: American Art Dec. 4-29: Jacob Lawrence: John Brown, A Series of 22 Paintings in Gouache

1946 -- Dec. 3-31: Christmas Exhibition Sept. 4-21: Masterpieces in American Folk Art: Recently Discovered Examples Sept. 24-Oct. 19: 21st Annual Exhibition: New Paintings by Leading American Artists June: New Important Paintings by Leading Americans July 2-Aug. 30: Summer Exhibition: Recent Paintings and Sculpture... Combined with a Selection of Important American Folk Art Mar. 26-Apr. 13: Paul Burlin May 7-25: 6 Artists Out of Uniform: New Post-War Paintings by 6 Important Americans Jan. 29-Feb. 16: Stuart Davis Retrospective Exhibition: Gouaches, Watercolors, Drawings, 1912-1941 (N126: 369-370)

1947 -- Apr. 1-26: Spring 1947 Apr. 29-May 17: Boston/New York: First Exchange Exhibition [Boston portion at Downtown Gallery and New York portion at Boris Mirski Gallery, Boston] Feb. 4-Mar. 1: Important New Drawings Mar. 4-29: William Zorach Jan. 7-25: Arthur Dove Nov. 11-29: Niles Spencer Dec. 2-27: Christmas Exhibition Sept. 23-Oct. 18: 22nd Annual Exhibition Sept. 3-20: 20th-Century American Watercolors Aug. 12-29: Exhibition of American Folk Art: Recent Acquisitions June 10-Aug. 8: American Art, 1800-1947 and American Folk Art May 20-June 7: National Parks: A Fortune Portfolio

1948 -- Sept. 28-Oct. 23: 23rd Annual Exhibition Sept. 8-28: The American Family: Folk Paintings, 1750-1850 Aug. 10-Sept. 2: Marin - New York (N126: 407-408) June 29-Aug. 6: Art for the 8,060,000 May 10-20: Mexican Folk Art Apr. 13-May 1: William Harnett Centennial Exhibition Mar. 22-Apr. 3: American Art: A Multiple Exhibition Arranged by the Association of Dealers in American Art [Downtown Gallery participating] Jan. 20-Feb. 7: Paintings by Stuart Davis, Yasuo Kuniyoshi, Jack Levine, John Marin, Ben Shahn Dec. 7-31: Christmas 1948 Nov. 16-Dec. 14: Jacques Maroger: Recent Paintings (N126: 411-412) undated: American Art... 20th Century Image to Abstraction [Amon Carter Museum; entire exhibition drawn from the collections of Edith Gregor Halpert and the Downtown Gallery] Dec. 7-31: William Zorach

1949 -- Nov. 15-Dec. 3: Reuben Tam Dec. 6-24: Christmas Exhibition May 10-28: Mexican Folk Art July 6-29: Art and/or Money Sept. 7-24: Important Paintings and Sculpture by Little Known and Unknown Artists of the 18th and 19th Century Oct. 3-22: 24th Annual Exhibition Mar. 15-Apr. 2: Paul Burlin Apr. 5-23: The Artist Speaks Apr. 25-10: 26 Teenage Artists Presented by Seventeen Magazine May 3-21: Arthur G. Dove: Watercolors, 1929-1946 (N126: 424) Sept. 7-24: American Folk Art

1950 -- Apr. 25-May 13: In 1950... Jan. 23-28: Creative Art for Commerce Dec. 5-23: Christmas Exhibition Oct. 24-Nov. 11: Jacob Lawrence (D56: 298-300) May 16-June 2: A Museum Collection: American Folk Sculpture Apr. 4-22: Yasuo Kuniyoshi Sept. 26-Oct. 21: 25th Annual Exhibition: New Paintings and Sculpture June: Art for 13,000,000 Jan. 31-Feb. 18: Ralston Crawford Dec. 27-Jan. 27, 1951: John Marin Mar. 14-Apr. 1: In 1940... Feb. 21-Mar. 11: Aquamedia

1951 -- Dec. 11-29: Christmas Exhibition May 1-19: Newcomers: Paintings by Artists from 15 States Nov. 20-Dec. 8: O. Louis Guglielmi Apr. 3-28: Spring 1951 Oct. 2-27: 26th Annual Exhibition: New Paintings and Sculpture by Leading American Artists July 10-Aug. 17: Summer Exhibition: American Art Sept. 5-22: Contemporary American Drawings June 12-29: Masterpieces in American Folk Art Mar. 13-31: Charles Sheeler: Paintings, 1949-1951 Feb. 20-Mar. 1: William Zorach: Sculpture, 1947-1951

1952 -- Oct. 28-Nov. 15: Niles Spencer Oct. 14-Nov. 15: The Ground-Floor Room 2nd Annual Exhibition Dec. 9-27: Stuart Davis and Yasuo Kuniyoshi Mar. 11-29: Ben Shahn: Paintings (D56: 1075-1076) Mar. 4-20: Recent Arrivals Jan. 2-26: John Marin: Oils and Watercolors June 3-27: Art for the 67% May 12-29: Lithographs, Woodcuts, Theorems, Serigraphs, and Other Prints by Leading American Artists Apr. 22-May 10: Arthur G. Dove Apr. 1-19: Spring '52 Oct. 1-25: 27th Annual Exhibition Nov. 18-Dec. 16: Shop for Art Early at the Downtown Gallery Sept. 9-27: American Amateur Art of 100 Years Ago July 1-Aug. 1: Pertaining to Summer: An Exhibition of Painting and Sculpture by Leading American Artists

1953 -- Jan. 7-Feb. 14: Performance: A New Series of Paintings in Tempera by Jacob Lawrence Feb. 17-Mar. 7: Celebrating the Tercentenary of New York, MDCLIII - MCMLIII: Paintings of New York by Leading American Artists Apr. 21-May 9: David Aronson May 12-29: 8 Younger Artists Mar. 10-28: Paul Burlin Mar. 31-Apr. 18: Reuben Tam Nov. 17-Dec. 7: Art in the Office Dec. 8-31: Art Gems for Christmas Sept. 22-Oct. 17: 28th Annual Exhibition: Recent Paintings and Sculpture Oct. 20-Nov. 14: Yasuo Kuniyoshi: Ink Paintings

1954 -- Sept. 14-Oct. 2: Artists of Chicago May 25-June 25: Summer 1954 Nov. 9-20: Skowhegan School of Painting and Sculpture: A Benefit Exhibition by Its Faculty and Visiting Artists for the Scholarship Fund Oct. 5-30: 29th Annual Exhibition: New Paintings and Sculpture Nov. 23-Dec. 24: Christmas Exhibition Apr. 6-May 1: Dove and Demuth: Watercolor Retrospective May 4-22: American Folk Art: Painting and Sculpture Feb. 2-27: International Exhibition: American, Belgian, British, Canadian, French, Italian, Mexican Painters under 40 Mar. 2-31: Stuart Davis: Recent Paintings

1955 -- Mar. 20-Apr. 23: Georgia O'Keeffe May 24-June 11: Gallery Purchases: Contemporary Art Apr. 26-May 21: Spring 1955 Sept. 13-Oct. 1: Painters of Los Angeles June 14-30: Gallery Purchases: American Folk Art Nov. 1-26: Arthur Dove: Collages Oct. 4-29: 30th Annual Exhibition Dec. 28-Jan. 21, 1956: William Zorach: A Selection, 1914-1955

1956 -- May 1-26: Bernard Karfiol: The Figure (N126L529-531) May 29-June 29: Spring 1956 Sept. 5-29: Americans in Europe Oct. 9-Nov. 3: 31st Annual Exhibition Nov. 6-Dec. 1: Stuart Davis: Exhibition of Recent Paintings, 1954-1956 Dec. 4-22: 31st Annual Christmas at the Downtown Gallery Jan. 31-Feb. 25: The Recurrent Image Apr. 3-28: Charles Sheeler: Selections from the Collection of the William H. Lane Foundation Feb. 28-Mar. 24: Arthur Dove: Paintings

1957 -- Dec. 31-Jan. 25, 1958: 32nd Annual Exhibition [?]-May 4: Spring Exhibition Dec. 9-21: Art Our Children Live With: A Loan Exhibition of American Art Jan. 8-Feb. 7: Max Weber Feb. 12-Mar. 2: New Acquisitions: Wm. M. Harnett (1848-1892) Feb. 12-Mar. 2: American Folk Art: Paintings and Sculpture Mar. 2-30: New Mexico as Painted by Stuart Davis, Marsden Hartley, Yasuo Kuniyoshi, John Marin, Georgia O'Keeffe, John Sloan May 7-31: Important Drawings by Leading American Artists June 4-28: Summer 1957 Oct. 7-Nov. 2: Group Show Nov. 5-27: Last Judgments by Abraham Rattner (D203: 76) Nov. 25-Dec. 7: 32nd Annual Christmas at the Downtown Gallery

1958 -- Sept. 30-Oct. 11: Arthur Dove: Watercolors June 9-27: 100 Church Street, `Portrait of a Building' by 10 American Artists May 20-June 7: Charles Demuth Apr. 29-May 10: Spring 1958 Mar. 5-Apr. 19: Charles Sheeler Jan. 28-Feb. 21: C. S. Price Dec. 8-27: 33rd Annual Christmas Exhibition Nov. 11-Dec. 6: Max Weber: The Figure in Retrospect, 1906-1958 Oct. 14-Nov. 8: 33rd Annual Exhibition

1959 -- Dec. 8-24: Ben Shahn: Silk-Screen Prints Dec. 29-Jan. 23, 1960: New Acquisitions Oct. 20-Nov. 14: 34th Annual Exhibition Nov. 17-Dec. 5: 34th Annual Christmas at the Downtown Gallery Sept. 22-Oct. 17: The Dial and the Dial Collection: A Special Loan Exhibition of Paintings, Sculpture & Graphics by 30 American Artists Apr. 29-June 2: Spring 1959 Apr. 7-25: Robert Osborn Mar. 3-28: Ben Shahn Jan. 6-31: New Acquisitions: American Folk Art Painting and Sculpture

1960 -- Feb. 23-Mar. 19: Gallery Group Mar. 22-Apr. 9: Jack Zajac Mar. 11-[?]: Signs & Symbols, U.S.A., 1760-1960 Jan. 21-Feb. 20: 7 Artists in Hawaii Dec. 5-24: Robert Osborn: Paintings and Drawings from `The Vulgarians' Nov. 8-Dec. 3: Abraham Rattner Dec. 5-24: 35th Annual Christmas at the Downtown Gallery through June 30: Summer 1960 Oct. 11-Nov. 5: 35th Annual Exhibition Apr. 19-may 7: Tseng Yu-Ho May 10-June 4: Stuart Davis

1961 -- June 13-30: Selections 1961 May 16-June 9: Spring 1961 Dec. 4-23: 36th Annual Christmas at the Downtown Gallery Sept. 12-Oct. 7: New Acquisitions Feb. 15-Mar. 11: Aquamedia in American Art Jan. 25-Feb. 11: Yasuo Kuniyoshi Apr. 11-May 2: Gallery Group Mar. 15-Apr. 8: Alfred Duca Jan. 9-Feb. 6: New Acquisitions

1962 -- Nov. 3-28: Robert Osborn Dec. 3-22: 37th Annual Christmas at Downtown Gallery May 22-June 15: 36th Annual Spring Exhibition: The Figure Apr. 24-May 19: Stuart Davis Oct. 16-Nov. 10: 37th Anniversary Exhibition Sept. 25-Oct. 13: American Roots: Folk Art in Painting and Sculpture Feb. 27-Mar. 17: Robert Osborn: Clowns and Non-Clowns Jan. 9-27: Tseng Yu-Ho: 18 Dsui Paintings Mar. 27-Apr. 21: Abstract Painting in America, 1903-1923 Mar. 10-31: Max Weber Memorial Exhibition

1963 -- Mar. 12-Apr. 16: Signs & Symbols * U.S.A., 1780-1960 May 7-[?]: Max Weber Dec. 2-21: 38th Annual Christmas at Downtown Gallery June 11-July 3: Summer 1963 Apr. 9-May 3: Spring 1963 Jan. 8-Feb. 2: John Marin Oct. 1-26: 38th Anniversary Exhibition Oct. 29-Nov. 16: Ben Shahn: Retrospective Exhibition, Paintings and Drawings, 1901-1958 Oct. 29-Nov. 16: Homage to e. e. cummings Oct. 29-Nov. 16: Gallery Group Aug. 6-Sept. 15: Loan Exhibition from the Edith Gregor Halpert Collection [Santa Barbara Museum of Art] Nov. 7-Dec. 8: Loan Exhibition from the Edith Gregor Halpert Collection [Honolulu Academy of Arts] Sept. 9-14: Visual Art by Performing Artists Dec. 3-Jan. 7, 1964: American Signs and Symbols

1964 -- Sept. 9-Oct. 3: 20th Century American Drawings Oct. 6-31: 39th Anniversary Exhibition Dec. 1-24: 39th Annual Christmas at the Downtown Gallery Jan. 11-Feb. 9: Loan Exhibition from the Edith Gregor Halpert Collection [California Palace of the Legion of Honor, San Francisco] Jan. 28-Feb. 21: George L. K. Morris Mar. 3-28: Supplement to the Rattner Exhibition May 12-June 5: New York City: Paintings, 1913-1963, by American Artists

1965 -- Jan. 5-23: Charles Sheeler and Yasuo Kuniyoshi Nov. 30-Dec. 18: Warner Brothers Co. Mural by Willard Cummings and Emilio A. Serio Mar. 23-Apr. 17: John Storrs Sept. 8-Oct. 2: A Gallery Survey of American Art [inaugural show, Ritz Tower Concourse, 465 Park Avenue] Nov. 3-20: Edward Stasack Nov. 30-Dec. 18: 40th Annual Christmas at the Downtown Gallery

1966 -- Nov. 5-Dec. 12: Morris Broderson Oct. 18-Nov. 12: 41st Anniversary Exhibition: Contemporary American Art Mar. 1-26: Balthus: New Paintings, 1963-1966 May 3-27: Charles Sheeler Sept. 20-Oct. 8: "Popular Art" in America, 18-19th Century

1967 -- Apr. 18-May 13: John Storrs Mar. 15-Apr. 8: Arthur Dove Nov. 7-25: O. Louis Guglielmi Sept. 26-Oct. 21: 42nd Anniversary Exhibition Feb. 14-Mar. 11: George L. K. Morris Jan. 10-Feb. 14: William Zorach: The Last Decade Dec.: Gallery Group

1968 -- Sept. 10-Oct. 5: 43rd Anniversary Exhibition

1969 -- Mar.: The Performing Arts
Related Material:
Berman, Avis. Pioneers in American Museums: Edith Halpert. Museum News 54, no. 2 (November/December 1975): 34-37, 61-64.

Bragazzi, Olive. The Story Behind the Rediscovery of William Harnett and John Peto by Edith Halpert and Alfred Frankenstein. American Art Journal 15, no. 3 (Spring 1984): 51-65.

Tepfer, Diane. Edith Gregor Halpert and the Downtown Gallery/Downtown, 1926-1940: A Study in American Art Patronage. Ph.D. diss., University of Michigan, 1989.

Edith Gregor Halpert, interview by Harlan Phillips, 1962-1963. Oral History Program, Archives of American Art, Smithsonian Institution.

Edith Gregor Halpert, interview by Harlan Phillips, January 20, 1965. New Deal and the Arts Project, Archives of American Art, Smithsonian Institution.

Edith Gregor Halpert, lecture delivered at the Brooklyn Museum of Art, October 19, 1959, on the 1959 American National Art Exhibition in Moscow. Tape-recorded by the Archives of American Art, Smithsonian Institution, and transcribed by the the Downtown Gallery staff.

In addition, the Archives of American Art has among its collections personal papers and oral history interviews of artists and collectors associated with the Downtown Gallery. Researchers are advised to conduct a name search in the Smithsonian Institution Research Information System (SIRIS).
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (ND-1- ND-71), the mojority of which was subsequently donated. Loaned materials not donated at a later date remain with the lender and are not described in the container listing of this finding aid.
Provenance:
Between 1957 and 1967, the Downtown Gallery loaned portions of its records to the Archives of American Art for microfilming. Because the microfilming was done in increments, the material was not always filmed in logical sequence, and overlapping and duplication of records occurred. Since files loaned for microfilming were, for the most part, still working records used to conduct ongoing gallery business, their contents changed and shifted over time. After Edith Halpert's death in 1970, the records of the Downtown Gallery were received by the Archives of American Art, 1972-1978, as a gift from her niece and executor, Nathaly Baum. In addition to the previously microfilmed material, the gift includes correspondence, inventories and sales records, financial records, photographs, and printed matter, as well as artifacts.One additional document received 2016 by Karen Freeman, daughter of Arthur H. Freeman, who did business at L.D. Landau and Co. Freeman represented halpert as an insurance agent.
Restrictions:
The microfilm of this collection has been digitized and is available online via the Archives of American Art website.
Rights:
The Downtown Gallery records are owned by the Archives of American Art, Smithsonian Institution. Rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws. Prior to publishing information regarding sales transactions, researchers are responsible for obtaining written permission from both artist and purchaser involved. If it cannot be established after a reasonable search whether an artist or purchaser is living, it can be assumed that the information may be published sixty years after the date of sale.
Topic:
Art dealers -- New York (State) -- New York  Search this
Fraktur art  Search this
Art -- Collectors and collecting -- United States  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Printmakers -- United States  Search this
Sculptors -- United States  Search this
Art, Modern -- 20th century -- United States  Search this
Painters -- United States  Search this
Artists -- United States  Search this
Weather vanes  Search this
Chalkware  Search this
Figureheads of ships  Search this
Folk art -- United States  Search this
Folk artists  Search this
Genre/Form:
Video recordings
Photographs
Motion pictures (visual works)
Citation:
Downtown Gallery records, 1824-1974, bulk 1926-1969. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.downgall
See more items in:
Downtown Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-downgall
Online Media:

Exhibition Records, 1989-1992

Creator:
National Portrait Gallery (U.S.) Department of Design and Production  Search this
Subject:
Newman, Arnold 1918-2006  Search this
Peale, Charles Willson 1741-1827  Search this
Peale, Rembrandt 1778-1860  Search this
Penn, Irving  Search this
Reiss, Winold 1886-1953  Search this
Washington, George 1732-1799  Search this
West, Benjamin 1738-1820  Search this
Fern, Alan Maxwell 1930-  Search this
Jenkins, Suzanne C  Search this
Marconi, Nello R  Search this
di Girolamo, Stephen  Search this
Cox, Beverly J  Search this
Reaves, Wendy Wick 1950-  Search this
Washington Print Club  Search this
American Portraiture in the Grand Manner: 1720-1920 (Exhibition) (1982: Washington, D.C.)  Search this
Annie Liebovitz Photographs 1970-1990 (Exhibition) (1991: Washington, D.C.)  Search this
Arnold Newman's Americans (Exhibition) (1992: Washington, D.C.)  Search this
Benjamin West and His American Students (Exhibition) (1980: Washington, D.C.)  Search this
Camera Portraits: Photographs from the National Portrait Gallery, London 1839-1989 (Exhibition) (1990: Washington, D.C.)  Search this
Charles Willson Peale and His World (Exhibition) (1982: Washington, D.C.)  Search this
Facing the Light: Historic American Portrait Daguerreotypes (Exhibition) (1978: Washington, D.C.)  Search this
Five of Hearts: Henry Adams and His Washington Circle (Exhibition) (1990: Washington, D.C.)  Search this
Great Crash (Exhibition) (1979: Washington, D.C.)  Search this
Icons of Invention: American Patent Models (Exhibition) (1990: Washington, D.C.)  Search this
In Pursuit of Fame: Rembrandt Peale, 1778-1860 (Exhibition) (1992-1993: Washington, D.C.)  Search this
Irving Penn Master Images (Exhibition) (1989: Washington, D.C.)  Search this
Isamu Noguchi Portrait Sculpture (Exhibition) (1989: Washington, D.C.)  Search this
Lincoln and His Contemporaries: Photographs by Mathew Brady from the National Portrait Gallery's F. H. Meserve Collection (Exhibition) (1991: Washington, D.C.)  Search this
Magical Mixtures: Marisol Portrait Sculpture (Exhibition) (1991: Washington, D.C.)  Search this
Noble Heritage: Five Centuries of Portraiture from the Hosokawa Family (Exhibition) (1992: Washington, D.C.)  Search this
Oliphant's Presidents: Twenty-five Years of Caricature (Exhibition) (1990: Washington, D.C.)  Search this
Peace and Friendship: Indian Peace Medals in the United States (Exhibition) (1985: Washington, D.C.)  Search this
Portrait Posters (Exhibition) (1992: Washington, D.C.)  Search this
Portraits by George Bellows (Exhibition) (1981-1982: Washington, D.C.)  Search this
Portraits of the American Law (Exhibition) (1989-1990: Washington, D.C.)  Search this
Ralph Earl: The Face of the Young Republic (Exhibition) (1991: Washington, D.C.)  Search this
Return to Albion: Americans in England 1776-1940 (Exhibition) (1979: Washington, D.C.)  Search this
Spirit of the Party: Hamilton and Jefferson at Odds (Exhibition) (1992: Washington, D.C.)  Search this
"The Family 1976": Richard Avedon's Photographs for Rolling Stone (Exhibition) (1993: Washington, D.C.)  Search this
Time Covers the War: Personalities from World War II (Exhibition) (1991: Washington, D.C.)  Search this
To Color America: Portraits by Winold Reiss (Exhibition) (1989: Washington, D.C.)  Search this
Working for Time: The Covers of Robert Vickrey (Exhibition) (1990: Washington, D.C.)  Search this
Physical description:
3.43 cu. ft. (3 record storage boxes) (1 12x17 box)
Type:
Brochures
Collection descriptions
Clippings
Manuscripts
Architectural drawings
Drawings
Black-and-white photographs
Color photographs
Date:
1989
1989-1992
Topic:
Art museums  Search this
Museum exhibits  Search this
Local number:
SIA Acc. 94-093
See more items in:
Exhibition Records 1977-2002 [National Portrait Gallery (U.S.) Department of Design and Production]
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_252436

Imogen Cunningham papers

Creator:
Cunningham, Imogen, 1883-1976  Search this
Names:
George Eastman House  Search this
Group f.64  Search this
Henry Art Gallery  Search this
Witkin Gallery  Search this
Aalto, Alvar, 1898-1976  Search this
Adams, Ansel, 1902-1984  Search this
Andreson, Laura  Search this
Bissantz, Edgar, 1901-  Search this
Bourke-White, Margaret, 1904-1971  Search this
Bristol, Horace  Search this
Bullock, Wynn  Search this
Butler, John Davidson, 1890-1974  Search this
Coburn, Alvin Langdon, 1882-1966  Search this
Feininger, Lyonel, 1871-1956  Search this
Graves, Morris, 1910-  Search this
Hellman, Lillian, 1905-1984  Search this
Kanaga, Consuelo, 1894-  Search this
Lange, Dorothea  Search this
Mann, Margery  Search this
Moholy-Nagy, László, 1895-1946  Search this
Newhall, Beaumont, 1908-1993  Search this
Newman, Arnold, 1918-2006  Search this
Noskowiak, Sonya, d. 1975  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Partridge, Roi, 1888-1984  Search this
Schoener, Allon  Search this
Sheeler, Charles, 1883-1965  Search this
Steichen, Edward, 1879-1973  Search this
Steinert, Otto, 1915-  Search this
Strand, Paul, 1890-1976  Search this
Struss, Karl, 1886-  Search this
Toklas, Alice B.  Search this
Van Dyke, Willard  Search this
Weston, Edward, 1886-1958  Search this
White, Minor  Search this
Witkin, Lee D.  Search this
Zorach, William, 1887-1966  Search this
Extent:
5.9 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Illustrated letters
Photographs
Date:
1903-1991
Summary:
The papers of photographer and teacher Imogen Cunningham, date from 1903 to 1991. The collection measures 5.9 feet of material, including correspondence, business and financial records, writings, printed matter, and photographs, and provides a good overview of Cunningham's life and career.
Scope and Content Note:
The papers of photographer and teacher Imogen Cunningham, date from 1903 to 1991. The collection measures 5.9 feet of material, including correspondence, business and financial records, writings, printed matter, and photographs, and provides a good overview of Cunningham's life and career. 3.6 linear feet of correspondence comprise the bulk of the collection.
Arrangement:
The collection is arranged into ten series according to material type:

Series 1: Biographical Material, 1907-1981, undated (box 1; 4 folders)

Series 2: Correspondence, 1909-1991, undated (boxes 1-4; 3.6 linear feet)

Series 3: Personal Business Records, 1944-1976 (box 4; 15 folders)

Series 4: Notes, 1959-1968 (box 4; 10 folders)

Series 5: Teaching Files, 1964-1971 (box 5; 4 folders)

Series 6: Writings, circa 1910-1976 (box 5; 21 folders)

Series 7: Interview Transcripts, 1951, undated (box 5; 2 folders)

Series 8: Printed Material, 1903-1991 (boxes 5-7; 1.2 linear feet)

Series 9: Photographs, 1916-1976 (box 7; 12 folders)

Series 10: Oversized Material, 1947-1948, 1967, undated
Biographical Note:
Born in Portland, Oregon on April 12, 1883, Cunningham's family moved to Seattle in 1889. Inspired by Gertrude Kasebier's work, she purchased her first camera in 1901. After studying chemistry and botany at the University of Washington, she worked for the Edward S. Curtis Studio, Seattle, from 1907 to 1909. Receiving a scholarship, Cunningham studied for a year at the Technische Hochschule, Dresden.

Upon her return to Seattle in 1910, she opened a studio and had the first major exhibition of her work at the Brooklyn Institute of Arts and Sciences in 1912.

In 1915, Cunningham married printmaker Roi Partridge and gave birth to her first son, Gryffyd. Two years later, her family moved to California, where she gave birth to twin sons, Padraic and Rondal. In 1920, the family moved to Oakland, where her husband taught at Mills College. During the 1920s, she exhibited her art work and began photographing plant forms.

Along with Ansel Adams, John Paul Edwards, Sonya Noskowiak, Henry Swift, Willard Van Dyke, and Edward Weston, Cunningham formed the f/64 Group, a society of purist photographers in 1932. During the same year she began working for Vanity Fair and other magazines and began a career as a portrait photographer, including Martha Graham, Cary Grant, Morris Graves, Alfred Stieglitz, and Spencer Tracy as her subjects. She divorced her husband in 1934.

In 1947, Cunningham established a studio in her San Francisco home, and continued to exhibit extensively until her death on June 24, 1976.
Provenance:
The collection was donated to the Archives of American Art by Imogen Cunningham in 1974 and 1976, and by her son, Gryffyd Partridge, in 1991.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Rights:
The Imogen Cunningham papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Photography, Artistic  Search this
Photographers -- California -- San Francisco Bay Area  Search this
Photographers  Search this
Women photographers  Search this
Portrait photography  Search this
Genre/Form:
Interviews
Illustrated letters
Photographs
Citation:
Imogen Cunningham papers, 1903-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cunnimog
See more items in:
Imogen Cunningham papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-cunnimog

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