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Ask an Expert -- Beyond "Beyond" -- An Overview of Michael Benson's Visions of Our Solar System

Creator:
National Air and Space Museum  Search this
Type:
Lectures
YouTube Videos
Uploaded:
2010-08-05T15:38:50.000Z
YouTube Category:
Education  Search this
Topic:
Aeronautics;Flight;Space Sciences  Search this
See more by:
airandspace
Data Source:
National Air and Space Museum
YouTube Channel:
airandspace
EDAN-URL:
edanmdm:yt_UPZw_WD3Z_E

Biren, Joan E. (JEB)

Series Donor:
Becker, John M.  Search this
Gay Officers Action League. GOAL  Search this
Heritage of Pride (HOP)  Search this
Rohrbaugh, Richard  Search this
Series Creator:
Hirsch, Leonard  Search this
Guest, Barbara  Search this
Barna, Joseph T.  Search this
Guest, Michael E.  Search this
Type:
Archival materials
Date:
1953-2018, undated
Scope and Contents:
This series contains material collected by and related to JEB (Joan E. Biren) noted lesbian photographer and "internationally recognized documentary artist". This series is arranged chronologically. This series contains publications, calendars, postcards, catalogues from photography exhibitions, press about JEB's exhibitions, and other items using JEB's photography. There is advertising and promotion material from her book, Eye to Eye: Portraits of Lesbians. This series contains material from JEB's documentaries, For Love and For Life about the 1987 March on Washington and A Simple Matter of Justice, about the April 1993 March on Washington. This series also contains the press clipping and press release files for the 1993 March on Washington used for A Simple Matter of Justice.

Subseries 1, Xerographic Copies of Photoprints, ?-?, undated. In some instances, the copyright date that is sometimes stamped on the print is obviously not the date the photograph was taken.

Subseries 2, Posters and Oversize Advertisement, 1973-2009, undated
Series Restrictions:
The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.1146, Series 5
See more items in:
Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8cce34da7-25ec-465d-93ba-0eff683ef2bc
EDAN-URL:
ead_component:sova-nmah-ac-1146-ref654

Folder 8 Diane Arbus photography exhibition, 1973

Container:
Box 29 of 287
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 321, National Museum of American Art, Office of Program Support, Records
See more items in:
Records
Records / Series : Untitled / Box 29
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0321-refidd1e3938

[Press cutting regarding Robert Scurlock's exhibition of work, 1961, copy negative : cellulose acetate photonegative]

Photographer:
Scurlock Studio (Washington, D.C.)  Search this
Creator:
Eastman Kodak Company (film manufacturer)  Search this
Names:
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Subseries Creator:
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock Studio (Washington, D.C.)  Search this
Extent:
1 Item (Silver gelatin on cellulose acetate film sheet, 7" x 5".)
Culture:
African Americans -- Washington (D.C.)  Search this
Type:
Archival materials
Photographs
Copy negatives
Place:
Washington (D.C.) -- African Americans
Date:
1961
Scope and Contents:
Copy negative of press cutting regarding the selection of Robert Scurlock's photograph for exhibition at the 70th Annual Exposition of Professional Photography and the 9th National Industrial Photographic Conference in New York, 1961. No ink on negative. "KODAK - - SAFETY - - FILM" edge imprint. No Scurlock number.
Subseries Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Photography -- Exhibitions -- 1960-1970  Search this
Genre/Form:
Photographs -- 1960-1970 -- Black-and-white negatives -- Acetate film
Copy negatives
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.6: Black and white negatives in cold storage arranged by client
Scurlock Studio Records, Subseries 4.6: Black and white negatives in cold storage arranged by client / 4.6.1: Black and White Negatives Part 1 / Scurlock, Robert
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep89c3f2ada-aade-4284-95f7-ca1a7a3f3d1b
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-06-ref27421

F. Holland Day papers, 1858-1977

Creator:
Day, F. Holland (Fred Holland), 1864-1933  Search this
Subject:
Baston, Estelle  Search this
Coburn, Alvin Langdon  Search this
Copeland, Herbert  Search this
Cox, George Collins  Search this
Craigie, Reginald  Search this
Cram, Ralph Adams, 1863-1942  Search this
Davies, Arthur B. (Arthur Bowen)  Search this
Evans, Frederick H.  Search this
Guiney, Louise Imogen  Search this
Hollyer, Fred  Search this
Käsebier, Gertrude  Search this
Koehler, S. R. (Sylvester Rosa)  Search this
Steichen, Edward  Search this
Stieglitz, Alfred  Search this
Ward-Perkins, Charlotte  Search this
Weil, Mathilde  Search this
White, Clarence H.  Search this
Woodbury, Jennie R.  Search this
Copeland and Day (Firm)  Search this
Citation:
F. Holland Day papers, 1858-1977. Archives of American Art, Smithsonian Institution.
Topic:
Photography -- Early works to 1900  Search this
Photography, Artistic  Search this
Photography -- Societies, etc  Search this
Theme:
Photography  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)5782
(DSI-AAA_SIRISBib)208621
AAA_collcode_dayfhol
Theme:
Photography
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208621

Mark Green papers, 1954-1991, bulk 1954-1978

Creator:
Green, Mark, 1932-  Search this
Subject:
Hull, Leonard  Search this
Kauffman, Bob  Search this
Johnson, Robert E. (Robert Emory)  Search this
Kessler, Chester  Search this
Kerouac, Jack  Search this
Mitchell, J. Oliver  Search this
Berman, Shirley  Search this
Coppola, Francis Ford  Search this
DeFeo, Jay  Search this
Ferlinghetti, Lawrence  Search this
Eisenlord, William J.  Search this
Frankenstein, Alfred V. (Alfred Victor)  Search this
Berman, Wallace  Search this
Ginsberg, Allen  Search this
Rauschenberg, Robert  Search this
Albright, Thomas  Search this
Rigney, Francis J. (Francis Joseph)  Search this
Stauber, Jerome  Search this
Rennie, Helen J.  Search this
Taylor, Edward Silverstone  Search this
Whalen, Philip  Search this
Nanny Goat Hill Gallery (San Francisco, Calif.)  Search this
Type:
Writings
Photographs
Citation:
Mark Green papers, 1954-1991, bulk 1954-1978. Archives of American Art, Smithsonian Institution.
Topic:
Poets -- California -- San Francisco  Search this
Beat generation  Search this
Bohemianism -- California -- San Francisco  Search this
Photography -- Exhibitions -- California -- San Francisco  Search this
Photographers -- California -- San Francisco  Search this
Journalists -- California -- San Francisco  Search this
Photography -- California -- San Francisco  Search this
Theme:
Photography  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)8984
(DSI-AAA_SIRISBib)211171
AAA_collcode_greemark
Theme:
Photography
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211171
Online Media:

National Arts Club records, 1898-1960

Creator:
National Arts Club (New York, N.Y.)  Search this
Subject:
De Kay, Charles  Search this
Arts Realty  Search this
Type:
Scrapbooks
Citation:
National Arts Club records, 1898-1960. Archives of American Art, Smithsonian Institution.
Topic:
Photography -- Exhibitions  Search this
Bibliographical exhibitions -- New York (State) -- New York  Search this
Clubhouses -- New York (State) -- New York  Search this
Handicraft  Search this
Decorative arts  Search this
Theme:
Photography  Search this
Art organizations  Search this
Record number:
(DSI-AAA_CollID)9697
(DSI-AAA_SIRISBib)211920
AAA_collcode_natiartc
Theme:
Photography
Art organizations
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211920
Online Media:

Aline Meyer Liebman papers, 1906-1978

Creator:
Liebman, Aline Meyer, 1879-1966  Search this
Subject:
O'Keeffe, Georgia  Search this
Stieglitz, Alfred  Search this
Strand, Paul  Search this
Weston, Edward  Search this
Adams, Ansel  Search this
Benton, Thomas Hart  Search this
Bluemner, Oscar  Search this
Borglum, Gutzon  Search this
Lachaise, Gaston  Search this
Marin, John  Search this
Macdonald-Wright, Stanton  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Type:
Scrapbooks
Citation:
Aline Meyer Liebman papers, 1906-1978. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Collectors and collecting  Search this
Art patronage -- New York (State) -- New York  Search this
Modernism (Art) -- Collectors and collecting  Search this
Photography, Artistic -- Collectors and collecting  Search this
Art, Modern -- 20th century -- United States -- Collectors and collecting  Search this
Women artists  Search this
Women painters  Search this
Women photographers  Search this
Women art patrons  Search this
Theme:
Women  Search this
Photography  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)9850
(DSI-AAA_SIRISBib)212345
AAA_collcode_liebalin
Theme:
Women
Photography
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212345

Focus Gallery records, 1963-1987

Creator:
Focus Gallery  Search this
Subject:
Uelsmann, Jerry  Search this
Siskind, Aaron  Search this
Hosoe, Eikō  Search this
Johnston, Helen  Search this
Leibovitz, Annie  Search this
Porter, Eliot  Search this
Bullock, Wynn  Search this
Caponigro, Paul  Search this
Adams, Ansel  Search this
Brandt, Bill  Search this
Abbott, Berenice  Search this
Weston, Brett  Search this
Heinecken, Robert  Search this
Cunningham, Imogen  Search this
Dater, Judy  Search this
Torren Gallery  Search this
George Eastman House  Search this
Type:
Photographs
Citation:
Focus Gallery records, 1963-1987. Archives of American Art, Smithsonian Institution.
Topic:
Visitors' books  Search this
Women photographers  Search this
Photography -- Exhibitions  Search this
Photography, Artistic  Search this
Photographers -- United States  Search this
Theme:
Photography  Search this
Art Gallery Records  Search this
Art Market  Search this
Record number:
(DSI-AAA_CollID)10224
(DSI-AAA_SIRISBib)213302
AAA_collcode_focugall
Theme:
Photography
Art Gallery Records
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213302
Online Media:

Louis Lozowick exhibition records, 1973

Creator:
Seton Hall University  Search this
Subject:
Lozowick, Louis  Search this
Kaufman-Cate, Barbara  Search this
Citation:
Louis Lozowick exhibition records, 1973. Archives of American Art, Smithsonian Institution.
Topic:
Photography -- Exhibitions  Search this
Theme:
Photography  Search this
Art organizations  Search this
Record number:
(DSI-AAA_CollID)10344
(DSI-AAA_SIRISBib)213556
AAA_collcode_setohall
Theme:
Photography
Art organizations
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213556

Sandra Berler Gallery records, 1970s-2013

Creator:
Sandra Berler Gallery  Search this
Berler, Sandra  Search this
Citation:
Sandra Berler Gallery records, 1970s-2013. Archives of American Art, Smithsonian Institution.
Topic:
Photography  Search this
Women art dealers  Search this
Theme:
Art Market  Search this
Record number:
(DSI-AAA_CollID)17516
(DSI-AAA_SIRISBib)390756
AAA_collcode_sandberl
Theme:
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_390756

Robert Schoelkopf Gallery records

Creator:
Robert Schoelkopf Gallery  Search this
Names:
Zabriskie Gallery  Search this
Andrejevic, Milet, 1925-1989  Search this
Aponovich, James, 1948-  Search this
Bailey, William, 1930-2020  Search this
Bell, Leland  Search this
Brassaï, 1899-  Search this
Cameron, Julia Margaret Pattle, 1815-1879  Search this
Cartier-Bresson, Henri, 1908-  Search this
Cornell, Joseph  Search this
Dawson, Manierre, 1887-1969  Search this
Driggs, Elsie, 1898-1992  Search this
Erlebacher, Martha Mayer  Search this
Evans, Walker, 1903-1975  Search this
Fiske, Gertrude, 1878-1961  Search this
Freund, Gisèle  Search this
Horton, William S., 1865-1936  Search this
Ito, Miyoko, 1918-1983  Search this
Lachaise, Gaston, 1882-1935  Search this
Laderman, Gabriel, 1929-  Search this
Ligare, David  Search this
Matthiasdottir, Louisa  Search this
Matulka, Jan, 1890-1972  Search this
Myers, Ethel  Search this
Nadelman, Elie, 1882-1946  Search this
Schoelkopf, Robert J., 1927-1991  Search this
Stella, Joseph, 1877-1946  Search this
Storrs, John Henry Bradley, 1885-1956  Search this
Wiesenfeld, Paul  Search this
Extent:
29 Linear feet
Type:
Collection descriptions
Archival materials
Gallery records
Illustrated letters
Photographs
Date:
1851-1991
bulk 1962-1991
Summary:
The collection comprises 29 linear feet of records that document the day-to-day administration of the Robert Schoelkopf Gallery from 1962 to 1991, with additional items predating the founding of the gallery from 1851 to 1961. The collection records artist and client relations, exhibitions, and daily business transactions through artist files, correspondence, printed matter, and photographic material.
Scope and Content Note:
The records of the Robert Schoelkopf Gallery comprise 29 linear feet of material from 1851 to 1991, with some items predating the founding of the gallery. The bulk of the records date from 1962 to 1991, providing researchers with fairly comprehensive coverage of the gallery's development and operations from its inception in 1962 until its closure in 1991. Items dated prior to 1962 relate principally to the period of transition during which Robert Schoelkopf ended his partnership with the Zabriskie Gallery and established his own business. There are also some items relating to artists of the nineteenth and early twentieth century.

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

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

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

Much of the outgoing correspondence from the gallery consists of copies of letters written by Robert Schoelkopf, with additional business being handled by assistant staff and, from the mid-1970s, Schoelkopf's wife, Laura Jane Schoelkopf. The records offer insight into the personalities of the Schoelkopfs and how their congenial and candid management style influenced their relationships with the contemporary artists they represented.
Arrangement:
Originally the collection was organized as one large file arranged alphabetically by folder title, with titles ranging from names of artists to general subject headings such as "Correspondence." During processing it became clear that the gallery delineated operations into three main functions: artist relations, client-dealer relations, and exhibitions. Consequently the collection is arranged as three main series based on these areas of concern. A small group of miscellaneous photographs of artists constitutes an additional series at the end of the collection.

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

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

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

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

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

Missing Title

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

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

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

Series 4: Photographs of Artists, undated (Box 29; 0.25 linear ft.)
Historical Note:
Robert Schoelkopf, Jr., was born in Queens, New York, in 1927. He graduated from Yale College in 1951 with a bachelor of arts degree and then taught briefly at his alma mater while conducting graduate research in art history. Schoelkopf began his career in commercial art in 1957 as an independent dealer of American painting and sculpture and became a member of the Art Dealers Association of America in 1958. In 1959 he formed a partnership with Virginia Zabriskie, of the Zabriskie Gallery in New York, which lasted until 1962. The gallery exhibited late-nineteenth and early-twentieth-century American painting, together with contemporary painting of a somewhat conservative style.

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

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

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

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

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

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

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

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

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

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

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

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

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

In March 1990, Robert Schoelkopf was diagnosed with leukemia and underwent a regimen of cancer treatment that resulted in a brief remission by the summer. Schoelkopf returned to work temporarily, but by 1991 his condition had worsened and he died in April of that year. Having known for some time that her husband's prognosis was poor, Laura Jane Schoelkopf had apparently decided that she would not continue the gallery in the event of his death. With the help of the youngest of their two sons, Andrew, she settled final accounts and assisted the gallery's contemporary artists in finding representation elsewhere before closing the business in August 1991.
Provenance:
Twenty-seven linear feet of records were donated to the Archives of American Art by Laura Jane Schoelkopf, Robert Schoelkopf's widow, and the Coe Kerr Gallery in 1991 and 1992. An additional gift of 3.4 linear feet was donated by Laura Jane Schoelkopf in 1996. The collection was reduced slightly during processing.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art, Modern -- 20th century  Search this
Works of art  Search this
Photography, Artistic  Search this
Realism  Search this
Art, American  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Gallery records
Illustrated letters
Photographs
Citation:
Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.robeschg
See more items in:
Robert Schoelkopf Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9773faf46-baaa-4d12-8e4f-cc58adc2787a
EDAN-URL:
ead_collection:sova-aaa-robeschg
Online Media:

Hart, Mickey

Collection Creator:
Rinzler, Ralph  Search this
Container:
Box 2 (Series 3)
Type:
Archival materials
Date:
1989-1990
Scope and Contents note:
File consists of correspondence and drafts. Correspondents include: Ralph Rinzler, Mickey Hart, Atesh Sonneborn. File also includes letter from Norm Cohen to Rinzler regarding controversial photography exhibition and eliminating cultural elitism at Smithsonian Recordings.
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Ralph Rinzler papers and audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.RINZ, File RINZ_03_002_073
See more items in:
Ralph Rinzler papers and audio recordings
Ralph Rinzler papers and audio recordings / Series 3: Correspondence
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5e14e0070-8e5c-4888-ba74-f185d6b791c5
EDAN-URL:
ead_component:sova-cfch-rinz-ref1363

Maloney, Tom

Collection Creator:
Kent, Rockwell, 1882-1971  Search this
Container:
Reel 5210, Frame 974-1125
Type:
Archival materials
Date:
1934-1938, 1955-1970
Scope and Contents note:
(correspondence concerning advertising and publicity ideas; judging of photography exhibition, and articles for Camera magazine)
Collection Restrictions:
The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.
See more items in:
Rockwell Kent papers
Rockwell Kent papers / Series 1: Alphabetical Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93b07066d-a4f7-4cb9-994c-ec729917475c
EDAN-URL:
ead_component:sova-aaa-kentrock-ref2418

New Exhibit Showcases the Power of Light in Our Everyday Lives

Creator:
Smithsonian Magazine  Search this
Type:
Blog posts
Smithsonian staff publications
Blog posts
Published Date:
Tue, 03 Feb 2015 19:15:27 +0000
Topic:
Search this
See more post:
Smithsonian Article Database
Data Source:
Smithsonian Magazine
EDAN-URL:
edanmdm:posts_e2340c5aadc4f6eae77f5c71ada86a95

"Le Peintre et la Photographie" Exhibition

Collection Creator:
Zabriskie Gallery  Search this
Container:
Box 41, Folder 33
Type:
Archival materials
Date:
1996
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Zabriskie Gallery Records, 1905-2011. Archives of American Art, Smithsonian Institution.
See more items in:
Zabriskie Gallery records
Zabriskie Gallery records / Series 6: Artist Files / Joan Fontcuberta
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f560a910-22b1-4347-adfb-098fe0a30615
EDAN-URL:
ead_component:sova-aaa-zabrgall-ref1656

Edward Steichen portraits of Charles Lang Freer

Creator:
Steichen, Edward, 1879-1973  Search this
Names:
Freer, Charles Lang, 1856-1919  Search this
Collection Creator:
Freer, Charles Lang, 1856-1919  Search this
Extent:
3 Items (photographic prints, black and white)
Type:
Archival materials
Portraits
Photographs
Platinum prints
Place:
New York (N.Y.)
Date:
1916
Scope and Contents:
Three photographic platinum prints, signed by Steichen in pencil on the image, numbered in an unidentified hand in pencil on the reverse.
Arrangement:
Stored in one box.
Biographical / Historical:
Edward Steichen (1879-1973) was an American painter and photographer born in Bivange, Luxembourg. He became a naturalized citizen in 1900. Steichen began his career as a fine art painter, but he soon took up the pictorialist approach to photography, going on to establish the Little Galleries of the Photo-Secession with Alfred Stieglitz. During World War I, Steichen moved into straight photography, serving as Director of the Naval Photographic Institute during World War II and winning an Academy Award for Best Documentary for his 1945 film "The Fighting Lady". He is perhaps most well-known for his curatorial work for the 1955 photography exhibition "The Family of Man" at the Museum of Modern Art in New York. Steichen selected more than 500 images from professional and amateur photographers in over 68 countries to depict universal themes of the human experience, such as birth, death, war and illness. The exhibition traveled to 38 countries and was viewed by over 9 million people, resulting in an equally successful book of the same name, which included an introduction by Steichen's brother-in-law, the poet Carl Sandburg.
Charles Lang Freer (1854-1919) was an American railroad-car manufacturer from Detroit, Michigan who amassed a large fortune as one of the founders of the Peninsular Car Company, which would go on to become American Car and Foundry. In the latter part of the 19th century, Freer was diagnosed with neurasthenia, the prescribed treatment for which was usually rest and avoidance of stressful activities. Freer began collecting art, starting with American masters and impressionist painters. Early on, Freer met and began collecting the works of James Whistler, who advised him to start collecting Asian art. Freer traveled to China, Japan and Korea, amassing a large private collection. Early in the twentieth century, Freer decided to donate his art to the public; in 1916, construction began on what is now known as the Freer Gallery of Art at the Smithsonian Institution. The building, which was paid for by Freer, cost one million dollars. Completion was delayed by World War I and the gallery was not opened until 1923. Freer died in 1919, leaving the bulk of his art collection to the federal government. This photograph comes originally from the Estate of Clarence P. Freer, nephew of Charles Lang Freer.
Local Numbers:
FSA A.01 12.01.1
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Portraits -- Men
Photographs
Platinum Prints
Collection Citation:
Charles Lang Freer Papers. FSA.A.01. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Gift of the estate of Charles Lang Freer.
Identifier:
FSA.A.01, File FSA A.01 12.01.1
See more items in:
Charles Lang Freer Papers
Charles Lang Freer Papers / Series 12: Photographs / 12.1: Portraits of Freer
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
GUID:
https://n2t.net/ark:/65665/dc3f1ed1b40-9a2f-4028-a823-4bfb54157e60
EDAN-URL:
ead_component:sova-fsa-a-01-ref3163
Online Media:

Photography Exhibit Scrapbook

Collection Creator:
Charlton, Maryette  Search this
Container:
Box 4, Folder 9
Type:
Archival materials
Date:
1979
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Maryette Charlton papers, circa 1890-2013. Archives of American Art, Smithsonian Institution.
See more items in:
Maryette Charlton papers
Maryette Charlton papers / Series 1: Biographical Material / 1.2: Family Files / Winslow, Hall
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw925ac2fe9-32d3-41e1-9c4e-d9007fe5ec24
EDAN-URL:
ead_component:sova-aaa-charmary-ref1170

Photography Exhibit Scrapbook

Collection Creator:
Charlton, Maryette  Search this
Container:
Box 4, Folder 10
Type:
Archival materials
Date:
1993
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Maryette Charlton papers, circa 1890-2013. Archives of American Art, Smithsonian Institution.
See more items in:
Maryette Charlton papers
Maryette Charlton papers / Series 1: Biographical Material / 1.2: Family Files / Winslow, Hall
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f2def7e2-0fe5-4092-bbcb-090451a35dc4
EDAN-URL:
ead_component:sova-aaa-charmary-ref1171

Shew Daguerreotype Panorama

Maker:
Shew, William  Search this
Physical Description:
metal (overall material)
glass (overall material)
Measurements:
each plate: 6 1/2 in x 8 1/2 in; 16.51 cm x 21.59 cm
Object Name:
daguerreotype
Place made:
United States: California, San Francisco
Date made:
ca 1852
ID Number:
PG.000159
Accession number:
22955
Catalog number:
159
See more items in:
Work and Industry: Photographic History
American Enterprise
Photography
Exhibition:
American Enterprise
Exhibition Location:
National Museum of American History
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a8-7137-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1000880
Online Media:

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