Collection consists of records documenting one of the oldest advertising agencies created in Philadelphia. The company then moves to New York and expanses to international markets. During its history NW Ayer & Sons acquires a number of other advertising agencies and is eventually purchased. The largest portion of the collection is print advertisements but also
includes radio and television. NW Ayer is known for some of the slogans created for major American companies.
Scope and Contents:
The collection consists primarily of proof sheets of advertisements created by NW Ayer & Son, Incorporated for their clients. These materials are in series one through thirteen and consist primarily of print advertisements. There are also billboards, radio and television commercials. The advertisements range from consumer to corporate and industrial products. The majority of the advertisements were created for Ayer's New York, Chicago, Los Angeles and international offices. Printed advertisements created by Cunningham & Walsh, Hixson & Jorgensen and Newell-Emmett are also included among these materials. Researchers who are interested in records created by Ayer in the course of operating an advertising agency will find these materials in Series fourteen-nineteen.
Series fourteen consists of advertisements created by NW Ayer & Son to promote their services to potential clients.
Series fifteen are scrapbooks of some of the earliest advertisements created by the company. Series sixteen are publications. Some of the publications were created by Ayer while others were about Ayer or the advertising industry in general. Provides good background materials and puts the company in perspective. Series eighteen are the legal records. Materials relating to employees including photographs, oral histories etc. are found in series nineteen.
Series twenty is one of the smallest amounts of materials and includes information relating to the history of NW Ayer & Son.
The container lists for series one-thirteen are part of a database and are searchable. The list has been printed for the convenience of the researcher and is included in this finding aid. Series fourteen-twenty container lists are also a part of the finding aid but are not in a searchable format.
Series 1, Scrapbooks of Client Advertisements, circa 1870-1920, is arranged into three boxes by chronological date. There are two bound scrapbooks and one box of folders containing loose scrapbook pages. NW Ayer & Son compiled an assortment of their earliest ads and placed them into scrapbooks. Besides the earliest advertisements, the scrapbooks contain requests to run advertisements, reading notices and listings of papers Ayer advertised in. The early advertisements themselves range from medical remedies to jewelry to machines to clothing to education and more. Most of the advertisements in the bound scrapbooks are dated.
Series 2, Proofsheets, circa 1870-1930, NW Ayer was fond of creating scrapbooks containing proofsheets. The series contains proofsheets created between 1892 and 1930, organized into 526 boxes. For convenience of storage, access and arrangement, the scrapbooks were disassembled and the pages placed in original order in flat archival storage boxes. The proofsheets are arranged by book number rather than client name. Usually the boxes contain a listing of the clients and sometimes the dates of the advertisements to be found within the box.
Series 3, Proofsheets, circa 1920-1975, is organized into 532 oversize boxes, and contain proofsheets and tearsheets created between 1920 and 1972. Within this series, materials are arranged alphabetically by company name (occasionally subdivided by brand or product), and thereunder chronologically by date of production. Many major, national advertisers are represented, including American Telephone & Telegraph, Armour Company, Canada Dry, Cannon Mills, Carrier Corporation, Domino Sugar, Caterpillar tractor company, Ford Motor Company, General Electric, Goodyear, Hills Bros. Coffee, Ladies Home Journal, National Dairy, Plymouth (Chrysler Corporation), Steinway, TV Guide, United Airlines and the United States Army. Also contained in this series are three scrapbooks of client advertisements including Canada Dry, Ford Motor, and Victor Talking Machine.
Series 4, 2001 Addendum, circa 1976-2001, is organized into ninety three oversized boxes,one folder and contains proofsheets for select Ayer clients, created between 1975 and 2001. Within this series, materials are arranged alphabetically by client name and there under chronologically by date of production. Major national advertisers represented include American Telephone & Telegraph, Avon, the United States Army, DeBeers Consolidated Diamond Mines, Dupont, TV Guide, Sealtest, Kraft Foods, Gillette, General Motors, Cannon Mills.
Series 5, Billboards, circa 1952-1956, consists of mounted and un-mounted original art/mock-ups. Twenty-two pieces of original art created as mock-ups for Texaco billboards.
Series 6, Film and Video Commercials, 1967-1970,
Series 7, Radio and Television Materials, 1933-1993, undated, is arranged into eight boxes and includes radio scripts, television scripts, and story boards for commercials.
Subseries 7.1, Scripts and storyboards for Radio and Television Commercials, dates Scripts for radio and television commercials includes title, date, length of commercial, advertising agency, client information
NW Ayer's radio and television materials mainly focus on the American Telegraph and Telephone account. Some of Ayer's materials relate to Bell Telephone Hours.
Storyboards are used in television and film to assist the director in working with crew to tell the story. To show the viewer through the use of figures, visual effects and camera angles. When directors first start thinking about their storyboard they create a story in their mind. They think of all the camera angles, visual effects and how the figures will interact in their mind. They try to create an extraordinary story in their head to attract the viewer (YOU) In order for the storyboard to be entirely effective it can't be a passive document. When done properly, a storyboard serves as a central design, meeting the needs of many team members including graphics artists, video personnel and programmers.
Another function of a storyboard is to help the team communicate during the training development process. This communication is very important in working with a large team as in the movie King, produced in 1996. Figures help the director explain to the crew how they are going to record the film and how to present it to the audience. Sometimes the director wants special effects to be added to the film, but his budget might not be that big so the director will have to change the story to fit their budget.
The Visual Effects are an important part in the storyboards it adds a special touch of creativity to your film. Camera angles are an important expects in your film because the camera angles determine where the viewing audience will look. If you want your audience to look at a certain object you must turn their attention to it by focusing on that object and maybe you might try blocking something out. Then you will have your audience's attention and you may do whatever else you have to, it could be scaring them are just surprising them or whatever you do.
Also included is talent information and log sheets relating to the storage of the commercials.
Bell Telephone Hour Program, 1942-[19??], The Bell Telephone Hour, also known as The Telephone Hour, was a five minute musical program which began April 29, 1940 on National Broadcasting Company Radio and was heard on NBC until June 30, 1958. Sponsored by Bell Telephone showcased the best in classical and Broadway music, reaching eight to nine million listeners each week. It continued on television from 1959 to 1968.
Earlier shows featured James Melton and Francia White as soloists. Producer Wallace Magill restructured the format on April 27, 1942 into the "Great Artists Series" of concert and opera performers, beginning with Jascha Heifetz. Records indicate that the list of talents on the program included Marian Anderson, Helen Traubel, Oscar Levant, Lily Pons, Nelson Eddy, Bing Crosby, Margaret Daum, Benny Goodman, José Iturbi, Gladys Swarthout and .The series returned to radio in 1968-1969 as Bell Telephone Hour Encores, also known as Encores from the Bell Telephone Hour, featuring highlights and interviews from the original series.
National Broadcasting television specials sponsored by the Bell System, 1957-1987includes information relating to Science series, Bell system Theshold Series, Bell telephone hour and commercial and public sponsored programs
Series 8, Chicago Office Print Advertisements, 1954-1989, is arranged alphabetically by the name of the client in ninety boxes and six oversize folders. Clients include Illinois Bell Telephone (1955-1989), Microswitch (1969-1989), Teletype (1975-1984), John Deere (1974-1989) and Caterpillar (1966-1972) are particularly well represented. Other clients of interest include Dr. Scholl's shoes (circa 1968-1972), the Girl Scouts (1976-1980), Sunbeam Personal Products Company (1973-1981), Bell and Howell (1974-1983) and Alberto Culver shampoos (1967-1971), Honeywell, Incorporated, Blue Cross and Blue Shield Associations, Kraft, Incorporated, Sears, Roebuck and Company, and YMCA.
Series 9, Los Angeles Office Materials, 1950s-1987, include printed advertisements created by this office and information relating to the employees.
Subseries 9.1, Print Advertisements, 1977-1987, printed advertisements arranged in one box alphabetically by client. There is a sparse sampling of clients from this particular Ayer branch office. The majority of the advertisements contained within this series are from Pizza Hut (1986-1987). Also included are Computer Automation (1977-1978), State of the Art, Incorporated (1982) and Toshiba (1986).
Subseries 9.2, Personnel Files, 1950s-1970s, includes cards of employees who worked in the Los Angeles office. Information on the cards includes name, address, telephone number, birthday, date hired, departure date and why (retired, terminated, resigned, etc) and position. Not all cards have all information. There is also a photograph of the employees on the cards.
Series 10, Foreign Print Advertisements, 1977-1991, undated, NW Ayer maintained partnerships with international companies such as Sloanas Ayer in Argentina, Connaghan & May Paton Ayer in Australia, Moussault Ayer in Belgium, NW Ayer, LTD. in Canada, GMC Ayer in France, Co-Partner Ayer in Germany, Wong Lam Wang in Hong Kong, MacHarman Ayer in New Zealand, Grupo de Diseno Ayer in Spain, Nedeby Ayer in Sweden, and Ayer Barker in United Kingdom. This group of material is a small sampling of advertisements created from these International offices. It is arranged alphabetically by client. There are quite a few automobile advertisements (i.e. Audi, Fiat, General Motors, Mercedes-Benz, and Volkswagen). In addition there are numerous advertisements for various personal items from MacLean's toothpaste to Quick athletic shoes to Labello lip balm, etc. Most of the advertisements have the creator's name printed on the advertisements.
Series 11, Cunningham & Walsh, Incorporated Materials, 1915-1987, undated contains 98 boxes 11 folders materials from the New York advertising agency acquired by NW Ayer in the 1960s. The company began with Newel-Emmett, an agency of nine men which broke up in 1949. Two of the men Fred Walsh and Jack Cunningham formed this agency in bearing their names in 1950. The agency created "let your fingers for the walking campaign for American Telephone & Telegraph, Mother Nature for Chiffon, and Mrs. Olson for Folgers's coffee and let the good times roll for Kawasaki motorcycle. In 1986, NW Ayer Incorporated purchased Cunningham & Walsh Incorporated.
Subseries 11.1, Print Advertisements, 1915-1987, are contained in ninety eight boxes of primarily print advertisements arranged alphabetically by client name. Clients that are particularly well represented are Graybar (electrical implements, circa1926-1937), Johns-Manulle (circa1915-1971), Smith and Corono typewriters (circa 1934-1960), Sunshine Biscuit Company (circa 1925-1961), Texaco Company (circa 1936-1961), Western Electric (circa 1920- 1971) and Yellow Pages (circa 1936-1971). Cunningham and Walsh also represented several travel and tourism industry clients, including Cook Travel Services (circa 1951-1962), Italian Line (circa 1953-1961), Narragansett and Croft (circa 1956-1960) and Northwest Airlines (circa 1946-1955). There are photographs of Texaco advertisements dating from 1913-1962. There is also a scrapbook of advertisements from the Western Electric Company dating from 1920-1922.
Subseries 11.2, Radio and Television Advertisements, 1963-1967, consist of materials created for Western Electric. Materials are arranged in chronological order.
Subseries 11.3, Company Related Materials, 1962-1986, undated include client lists, information relating to NW Ayer purchase and annual report 1962.
Series 12, Hixson & Jorgensen Materials, 1953-1971, a Los Angeles advertising company, merged with Ayer in 1969. This series is housed in one box. Within the box are four scrapbooks and folders with a hodgepodge of materials relating to advertising. Of most interest are the scrapbooks. Two scrapbooks deal with Hixson and Jorgensen's self promotion ad campaign "the right appeal gets action" (1953-1957). The other two scrapbooks contain news clippings about the company and its activities (1959-1971).
Series 13, Newell-Emmet, 1942-1957, founded in 1919 and governed in the 1940s by a partnership of nine men. The partnership broke up in 1949 when the men went their separate ways. The materials consist of print advertisements for one of client, Permutit Company, a water conditioning company. The materials are arranged in one box in chronological order.
Series 14, House Print Advertisements, 1870-1991, 16 boxes consists of advertisements or self-promotion advertisements to campaign for new clients. The series is arranged chronologically by date into fifteen boxes. Within the series are two scrapbooks containing self promotion ads from 1888-1919 and 1892-1895. Numerous house ads relate to Ayer's "Human Contact" campaign. In addition to the self promotion ads, Ayer ran advertisements expounding about particular concepts or themes for example, one month the concept would "understand" while another month would be "teamwork" and yet another would be on "imagination". Some of the self promotion ads target specific groups like Philadelphia businessmen. Other advertisements incorporate the fine arts.
Series 15, Scrapbooks, 1872-1959, relates to company events, records and news clippings about Ayer's history. The six boxes are arranged by chronological date. Two of the boxes focus solely on the death of founder F.W. Ayer (1923). Another box houses a scrapbook that showcases Ayer's annual Typography Exhibition (1931-1959). One box contains a scrapbook that specifically deals with correspondences relating to Ayer's advertising. Yet another box's contents are folders of loose pages from scrapbooks that have newspaper clippings, order forms, correspondences and other company records. In one box, a bound scrapbook houses a variety of materials relating to Ayer and advertising (i.e. newspaper clippings, competitor's advertisements, NW Ayer's advertisements, correspondences for advertisements, clippings regarding the "theory of advertising."
Series 16, Publications, 1849-2006, are housed in thirty four boxes and are arranged into three main categories.
Subseries 16.1, House Publications, 1876-1994, covers diverse topics; some proscriptive works about the Ayer method in advertising, some commemorating people, anniversaries or events in the life of the agency. Materials consist of scattered issues of the employee newsletter The Next Step 1920-1921. The materials are arranged in chronological order by date of publication. Ayer in the News, The Show Windows of an Advertising Agency, 1915, book form of advertisements published on the cover of Printer's Ink, highlighting Ayer's relations with advertisers. The Story of the States, 1916, Reprint in book form of a series of articles published in Printer's Ink for the purpose of adding some pertinent fact, progressive thought and prophetic vision to the Nationalism of Advertising highlights major businesses, manufacturer, natural resources and other qualities or attractions of each state. The Book of the Golden Celebration, 1919, includes welcome address and closing remarks by founder F. Wayland Ayer, The Next Step, 1920 employee newsletter with photographs, employee profiles, in-house jokes, etc., Advertising Advertising: A Series of Fifty-two Advertisements scheduled one time a week. Twenty-seven, thirty and forty inches, a day of the week optional with publisher, 1924
Subseries 16.2, Publications about NW Ayer, 1949-2006, includes a book first published in 1939. Includes articles, documenting events and is arranged chronologically by date of publication.
Subseries 16.3, General Publications about Advertising, 1922-1974, are arranged chronologically by date of publication and relate primarily to the history of advertising.
Subseries 16.4, Publications about Other Subjects, 1948-1964, include four books about the tobacco industry primarily the history of the American Tobacco Company and Lorillard Company from the Cunningham and Walsh library.
Series 17, Business Records, circa 1885-1990s
Subseries 17.1, Contracts, 1885-1908, undated, are arranged alphabetically and span from 1885-1908. The majority of the contracts are with newspaper and magazine publishers from around the country.
Subseries 17.2, General client information, 1911-1999, undated, including active and cancelled lists with dates, client gains, historical client list, (should move this to series 20) Ayer Plan User Guide Strategic Planning for Human Contact, undated
Subseries 17.3, Individual Client Account Information, 1950s-1990s, undated, contain information used by Ayer to create advertisements for some of its clients. American Telephone &Telegraph Corporate Case History, American Telephone &Telegraph Corporate advertisement memo, commissioned artists for DeBeers advertisements, DeBeers information relating to the creative process and photography credits, a case history for DeBeers Consolidated Mines, Ltd., The Diamond Engagement Ring, Managing Communication at all levels, DuPont publications, JC Penny Marketing Communication Plan Recommendation, Leaf, Incorporated, Saturn presentation, and USAREC oral presentation.
Subseries 17.4, Potential Clients, 1993, includes grouping has a questionnaire sent to Ayer by a potential client. Questionnaire response for Prudential Securities, 1993 Prudential Securities advertising account review, 1993.
Subseries 17.5, Financial Records, 1929-1938, includes balance sheet, 1929 May 1 Balance sheet and adjustments Consolidated statement of assets and liabilities, Expenses 191936-37 Business review and expenses, 1937 and 1938 Business review and expenses comparative statement, 1937 and 1938.
Series 18, Legal Records, circa 1911-1982, Ayer's legal records are arranged by twelve subject groupings within four boxes. The twelve groupings are advertising service agreements (circa 1918-1982), bylaws, copyright claims, correspondences, international correspondences, dissolution of trusts, stock information, agreements between partners, incorporation materials, reduction of capital, property information and miscellaneous materials. The bulk of the materials are the advertising service agreements. These agreements are between Ayer and their clients and state the services Ayer will offer and at what cost. The bylaws are Ayer's company bylaws from 1969 and 1972. The copyright claims are certificates stating Ayer's ownership over certain published materials (i.e. "Policy", Media Equalizer Model, and Don Newman's Washington Square Experiment). The correspondences relate to either the voting trust and receipts for agreement or the New York Corporation. The international correspondences are from either Ayer's Canadian office or London office. The dissolutions of trusts contains materials about the dividend trust of Wilfred F. Fry, the investment trust of Winfred W. Fry, the voting trust, and the New York corporation. The stock information has stock certificates and capital stock information. The agreements between partners (1911-1916) specify the terms between F.W. Ayer and his partners. The incorporation materials (circa 1929-1977) deal with Ayer advertising agency becoming incorporated in the state of Delaware. The reduction of capital grouping is a notification that shares of stock have been retired. The property information grouping contains property deeds and insurance policy (circa 1921-1939), a property appraisal (1934), and a bill of sale (1948). The miscellaneous grouping contains a house memo regarding a set of board meeting minutes and a registry of foreign companies in Commonwealth of Pennsylvania (1929-1954).
Subseries 18.1, Advertising Service Agreements, 1918-1982
Subseries 18.2, Bylaw Materials, 1969-1972
Subseries 18.3, Copyright Claims, 1962-1969
Subseries 18.4, Correspondence, 1928-1933
Subseries 18.5, International Office Correspondence, 1947-1948
Subseries 18.6, Dissolution of Trusts, 1934-1937
Subseries 18.7, Stock Information, 1934-1974
Subseries 18.8, Agreements between Partners, 1911-1916
Series 19, Personnel Records, circa 1889-2001, are arranged into eight groupings within eight boxes. The groupings are employee card files, photographs, Ayer alumni, biographies, speeches, recollections, oral histories, and miscellaneous. Typed manuscript of book A Copy Writer Speaks by George Cecil, NW Ayer, Incorporated copy head 1920s-1950s
Subseries 19.1, Employee card files, circa 1892-1915; 1929-1963, consists of index cards with the name, age, job title, date and wage increases, date of hire/fire, as well as remarks about the employee's service and/or reasons for seeking or leaving the job. Materials are arranged alphabetically by the last name of the employee within three boxes.
Subseries 19.2, Photographs, circa 1924-1984, undated, are housed in two boxes. The photographs grouped together by subjects i.e. personnel, company events, Ayer buildings, and miscellaneous. This grouping primarily consists of personnel photographs. Includes a glass plate negative dated 1924 of NW Ayer.
Subseries 19.3, Ayer Alumni, circa 1989-98, include employees who have left Ayer. There is a listing of Ayer "graduates" and their current job. Emeritus, Ayer's alumni newsletter 1989-1996, makes up the majority of materials in this grouping. The newsletter keeps the alumni up to date with the happenings of Ayer and what has become of former Ayer employees. Emeritus is a quarterly newsletter devoted to the activities, thoughts and feelings of Ayer alumni a body of people who consists of retirees and former employees.
Subseries 19.4, Biographical Information, circa 1889-1994, undated, prominent members of Ayer's operations had biographical sketches completed of them. This was true for the bio sketches of Robert Ervin, Louis T. Hagopian, and George A. Rink. There is a substantial file on Dorothy Dignam ("Mis Dig"), a leading woman in the advertising world from the 1930s to the 1950s. Also of interest is a video ("The Siano Man") compiled by Ayer employees to commemorate Jerry Siano's retirement from Ayer in 1994. The series is arranged alphabetically by last name.
Subseries 19.5, Speeches, circa 1919-1931; 1975, contains speeches made by Wilfred W. Fry and Neal W. O'Connor. Wilfred W. Fry had various speaking engagements connected with Ayer. Contained in this group is a sampling of his speeches from 1919 to 1931. Neal O'Connor's speech "Advertising: Who Says It's a Young People's Business" was given at the Central Region Convention for the American Association of Advertising Agencies in Chicago on November 6, 1975. The speeches are arranged alphabetically by the speaker's last name.
Subseries 19.6, Recollections, 1954-1984, undated, are arranged alphabetically by last name. These are recollections from Ayer employees about the company and its advertisements. Some recollections are specifically about certain types of advertisements, like farm equipment while others reflect on F. W. Ayer and the company.
Subseries 19.7, Oral History Interview Transcripts, 1983-1985; 1989-1991, include interviews with key NW Ayer personnel, conducted by Ayer alumnae Howard Davis, Brad Lynch and Don Sholl (Vice President creative) for the Oral History Program. The materials are arranged alphabetically by the last name of the interviewee.
Subseries 19.8, Oral History Interview Audio Tapes, 1985-1990, include interviews on audiotape the materials are arranged alphabetically by the last name of the interviewee.
Subseries 19.9, Internal Communications, 1993-1999, includes information sent to employees relating to retirements, management changes, awards won by the company, promotions, potential new accounts, free items, grand opening of Ayer Café, donation events, sponsorship programs, holiday schedules, discounts for employees from clients, Ayer joins MacManus Group.
Subseries 19.10, General Materials, 1940; 1970, includes agency directory entry including a list of the employees, 1970s, annual banquet program for the Curfew Club May 22, 1940 a group formed by the Philadelphia employee in 1938. It sponsored numerous sports, social and educational activities. Groups were formed in public speaking, music appreciation and a series of talks on Monday evenings title the modern woman. The front page was a series of talks for general interest. A list of officers, 1991, Twenty five year club membership, 1973 December 1, List of NW Ayer graduates, 1970, List of Officers, 1991 May 31, Obituary for Leo Lionni, 1999 October 17, List of photographers of advertisements, 2001
Series 20, Background and History Information, 1817-1999, undated includes a chronology, 1817-1990, quick reference timeline, 1848-1923, loose pages from a scrapbook containing examples of correspondence, envelopes, advertisements dating from 1875-1878; slogans coined by NW Ayer & Sons, Incorporated, 1899-1990, history of management, 1909-1923, articles and photographs about the building and art galleries, 1926-1976, publications about the Philadelphia building, 1929, pamphlet relating to memories of NW Ayer & Sons, Incorporated, 1930s-1950s, television history, 1940-1948, Article about the history of the company, 1950 January, pocket guide, 1982, AdWeek reports about standings for advertising agencies, information relating to Human Contact which is NW Ayer's Information relating to Human Contact, undated which is their philosophy on advertising.
Series 21, Materials Created by other Advertising Agencies, 1945-1978, undated, consists of print advertisements collected by Ayer from other major advertising companies. The companies include Doyle Dane Bernback, Incorporated, Leo Burnett Company, Grey Advertising Agency, D'Arcy Ad Agency, Scali, McCabe, Sloves, Incorporated and Erwin Wasey Company. The materials are arranged in alphabetical order by client and include products from Ralston Purina and Van Camp (Chicken of the Sea), Kellogg, American Export Lines and No Nonsense Fashions.
Series 22, 2010 Addendum of Print Advertisements, circa 1879s-1999, undated, includes material given to the Archives Center in 2010. It is organized into seventy one oversized boxes and contains proofsheets of print advertisements for select Ayer clients. These are arranged alphabetically by client name and include substantial quantities of materials from American Telephone &Telegraph (1945-1996), Bahamas Ministry of Tourism (1967-1987), Carrier (1971-1981), Citibank (1973-1991), DeBeers (1940s-1960s and1990s), Electric Companies Advertising Program [ECAP] (1942-1970s), General Motors (1989-1998), J.C. Penney (1983-1986), Newsweek (1966-1975), and Proctor and Gamble (1980s-1890s). There are also numerous other clients represented by smaller quantities of materials.
Subseries 22.2, Print Advertisements on Glass Plate Negatives, 1879-1881, undated, include Cannon towels, Cheny Brothers silks, Cornish & Company organs and pianos, Enterprise Manufacturing Company, 1879 sad iron, an ad from Harper's Weekly 1881 for ladies clothing, Ostermoor & Company mattresses, Pear's soap, Porter's cough balsam, Steinway pianos.
Series 23, Microfilm of Print Advertisements, circa 1908-1985, consists of three boxes of printed advertisements for the American Telephone and Telegraph Company. Some of the same advertisements might also be found in series two, three and four.
The collection is arranged into twenty-three series.
Series 1: Scrapbooks of Client Print Advertisements, circa 1870-1920
Series 2: Proofsheets, circa 1870-1930
Series 3: Proofsheets, circa 1920-1975
Series 4: 2001 Addendum, circa 1976-2001
Series 5: Billboards, circa 1952-1956
Series 6: Audiovisual Materials
Series 7: Radio and Television Materials, 1933-1993, undated
Series 8: Chicago Office Print Advertisements, 1954-1989
Series 9: Los Angeles Office Materials, 1950s-1987
Subseries 9.1: Printed Advertisements, 1977-1987
Subseries 9.2: Personnel Files, 1950s-1970s
Series 10: Foreign Print Advertisements, 1977-1991, undated
Series 11: Cunningham & Walsh Incorporated Materials, 1915-1987, undated
Subseries 11.1: Printed Advertisements, 1915-1987
Subseries 11.2: Radio and Television Advertisements, 1963-1967
Subseries 11.3: Company Related Materials, 1962-1986, undated
Series 12: Hixson & Jorgensen Materials, 1953-1971, undated
Series 13: Newell-Emmet, 1942-1957
Series 14: House Print Advertisements, 1870-1991
Series 15: Scrapbooks, 1872-1959
Series 16: Publications, 1849-2006
Subseries 16.1: House Publications, 1876-1994
Subseries 16.2: Publications about NW Ayer, 1949-1995
Subseries 16.3: General Publications about Advertising, 1922-2006
Subseries 16.4: Publications about other Subjects, 1948-1964
Series 17, Business Records, circa 1885-1990s
Subseries 17.1: Contracts, 1885-1908, undated
Subseries 17.2: General Client Information, 1911-1999, undated
Subseries 22.2: Print Advertisements on Glass Plate Negatives, 1879-1881, undated
Series 23: Microfilm of Print Advertisements, circa 1908-1985
Biographical / Historical:
Founded in Philadelphia in 1869, NW Ayer & Son is one of the oldest and largest advertising agencies in America. For most of its history, it was the undisputed leader and innovator in the field of advertising. In 1876, NW Ayer & Son pioneered the "open contract", a revolutionary change in the method of billing for advertising which became the industry standard for the next hundred years. NW Ayer pioneered the use of fine art in advertising and established the industry's first art department. It was the first agency to use a full-time copywriter and the first to institute a copy department. The agency relocated to New York City in 1974. During its long history, the agency's clients included many "blue-chip" clients, including American Telephone & Telegraph, DeBeers Consolidated Diamond Mines, Ford Motor Company, Nabisco, R. J. Reynolds and United Airlines. However, in later years, the Ayer's inherent conservatism left the agency vulnerable to the creative revolution of the 1960s and 1970s, the advertising industry restructuring of the 1980s and the economic recession of the early 1990s. The agency was bought out by a Korean investor in 1993. In 1996, NW Ayer merged with another struggling top twenty United States advertising agency, Darcy, Masius, Benton & Bowles, under the umbrella of the McManus Group. Ayer continues to operate as a separate, full-service agency.
Through a series of buyouts and mergers, Ayer traces its lineage to the first advertising agency founded in the United States, a Philadelphia agency begun by Volney Palmer in 1841. Palmer began his career in advertising as a newspaper agent, acting as middleman between newspaper publishers and advertisers across the country. By 1849, Palmer had founded his own newspaper, V. B. Palmer's Register and Spirit of the Press, and had developed a complete system of advertising which included securing advertising space and placing ads in scores of commercial, political, religious, scientific and agricultural journals across the country. Palmer went one step further than the "space jobbers" of the day when he began offering "advertisements carefully drawn for those who have not the time to prepare an original copy." Always an enthusiastic promoter of advertising as an incentive to trade and American economic growth, Palmer promised advertisers that "every dollar paid for advertising in country newspapers will pay back twenty-fold" and encouraged skeptical consumers that "he who wishes to buy cheap should buy of those who advertise." When Palmer died in 1863, the agency was bought by his bookkeeper, John Joy, who joined with another Philadelphia advertising agency to form Joy, Coe & Sharpe. That agency was bought out again in 1868 and renamed Coe, Wetherill & Company. In 1877, Coe, Wetherill and Company was bought out by the newly formed NW Ayer & Son.
Francis Wayland Ayer was an ambitious young schoolteacher with an entrepreneurial streak. Having worked for a year soliciting advertisements on a commission basis for the publisher of the National Baptist weekly, Francis Ayer saw the potential to turn a profit as an advertising agent. In 1869, Ayer persuaded his father, Nathan Wheeler Ayer, to join him in business, and with an initial investment of only $250.00, NW Ayer & Son was born. Notwithstanding a smallpox epidemic in Philadelphia in 1871 and the general economic depression of the early 1870s, the agency flourished. The senior Ayer died in 1873, leaving his interest in the agency to his wife, but Francis W. Ayer bought her out, consolidating his interest in the company's management. In 1877, with Coe, Wetherill & Company (the successor to Palmer's 1841 agency) on the verge of bankruptcy and heavily indebted to Ayer for advertising it had placed in Ayer publications, Ayer assumed ownership of that agency. Thus did NW Ayer lay claim to being the oldest advertising agency in the country.
Both Nathan Wheeler and Francis Wayland Ayer began their careers as schoolteachers, and one of their legacies was a commitment to the cause of education: correspondence schools and institutions of higher learning were historically well-represented among Ayer clients. Just after World War I, the agency was heralded as "co-founder of more schools than any citizen of this country" for its conspicuous efforts to advertise private schools. Well into the 1960s, an "Education Department" at Ayer prepared advertisements for over three hundred private schools, camps and colleges, representing almost half the regional and national advertising done for such institutions. In fact, to its clients Ayer presented advertising itself as being akin to a system of education. In 1886, Ayer began promoting the virtues of the Ayer way advertising with the slogan, "Keeping Everlastingly at It Brings Success."
The agency's goals were simple: "to make advertising pay the advertiser, to spend the advertiser's money as though it were our own, to develop, magnify and dignify advertising as a business." Initially, Ayer's fortunes were tied to newspapers, and the agency began to make a name for itself as compiler and publisher of a widely used American Newspaper Annual. During the first years, Ayer's singular goal was "to get business, place it [in newspapers] and get money for it"; after several years as an independent space broker, however, Francis Ayer resolved "not to be an order taker any longer." This decision led NW Ayer and Son to a change in its mode of conducting business which would revolutionize the advertising industry: in 1876, Ayer pioneered the "open contract" with Diggee & Conard, Philadelphia raised growers and agricultural suppliers. Prior to the open contract, NW Ayer & Sons and most agencies operated as "space-jobbers," independent wholesalers of advertising space, in which the opportunities for graft and corrupt practices were virtually unlimited. In contrast, the open contract, wherein the advertiser paid a fixed commission based on the volume of advertising placed, aligned the advertising agent firmly on the side of the advertiser and gave advertisers access to the actual rates charged by newspapers and religious journals. The open contract with a fixed commission has been hailed by advertising pioneer Albert Lasker as one of the "three great landmarks in advertising history." (The other two were Lasker's own development of "reason-why" advertising copy and J. Walter Thompson's pioneering of sex appeal in an advertisement for Woodbury's soap.) Although the transition to the open contract did not happen overnight, by 1884, nearly three-quarters of Ayer's advertising billings were on an open contract basis. Since Ayer was, by the 1890s, the largest agency in America, the switch to direct payment by advertisers had a significant impact on the advertising industry, as other agencies were forced to respond to Ayer's higher standard. Just as important, the open contract helped to establish N W Ayer's long-standing reputation for "clean ethics and fair dealing" -- a reputation the agency has guarded jealously for over a century.
The open contract also helped to establish Ayer as a full service advertising agency and to regularize the production of advertising in-house. From that point forward, Ayer routinely offered advice and service beyond the mere placement of advertisements. Ayer set another milestone for the industry in 1888, when Jarvis Wood was hired as the industry's first full-time copywriter. Wood was joined by a second full time copywriter four years later, and the Copy Department was formally established in 1900. The industry's first Art Department grew out of the Copy Department when Ayer hired its first commercial artist to assist with copy preparation in 1898; twelve years later Ayer became the first agency to offer the services of a full time art director, whose sole responsibility was the design and illustration of ads.
Ayer's leadership in the use of fine art in advertising has roots in this period, but achieved its highest expression under the guidance of legendary art director Charles Coiner. Coiner joined Ayer in 1924, after graduating from the Chicago Academy of Fine Arts. Despite early resistance from some clients, Coiner was adamant that "the use of outstanding palette and original art forms bring a greater return in readership, in impact and prestige for the advertiser." To this end, Coiner marshaled the talents of notable painters, illustrators and photographers, including N.C. Wyeth and Rockwell Kent (Steinway), Georgia O'Keefe (Dole), Leo Lionni (DuPont), Edward Steichen (Steinway, Cannon Mills), Charles Sheeler (Ford), and Irving Penn (DeBeers). Coiner believed that there was a practical side to the use of fine art in advertising, and his success (and Ayer's) lay in the marriage of research and copywriting with fine art, an arrangement Coiner termed "art for business sake." Coiner's efforts won both awards and attention for a series completed in the 1950s for the Container Corporation of America. Titled "Great Ideas of Western Man" the campaign featured abstract and modern paintings and sculpture by leading U.S. and foreign artists, linked with Western philosophical writings in an early example of advertising designed primarily to bolster corporate image. In 1994, Charles Coiner was posthumously named to the American Advertising Federation's Hall of Fame, the first full time art director ever chosen for that honor.
Coiner and fellow art director Paul Darrow also created legendary advertising with the "A Diamond Is Forever" campaign for DeBeers; ads featured the work of Pablo Picasso, Salvador Dali and other modernist painters. The "A Diamond is Forever" tagline was written in 1949 by Frances Gerety, a woman copywriter at Ayer from 1943 to 1970. In 1999, Ad Age magazine cited "A Diamond is Forever" as the most memorable advertising slogan of the twentieth century.
Coiner also earned respect for his volunteer government service during World War II; he designed the armbands for civil defense volunteers and logos for the National Recovery Administration and Community Chest. As a founding member of the Advertising Council in 1945, Ayer has had a long-standing commitment to public service advertising. In the mid-1980s, Ayer became a leading force in the Reagan-era "War on Drugs". Lou Hagopian, Ayer's sixth CEO, brokered the establishment of the Partnership for a Drug-Free America, a media coalition which generated as much as a million dollars a day in donated advertising space and time to prevent the use and abuse of illegal drugs. Famous names appear among NW Ayer's clientele from the very earliest days of the agency. Retailer John Wanamaker, Jay Cooke and Company, and Montgomery Ward's mail-order business were among the first Ayer clients. The agency has represented at least twenty automobile manufacturers, including Cadillac, Chrysler, Ford, General Motors, Plymouth, and Rolls-Royce. Other major, long-term clients through the years have included American Telephone & Telegraph, Canada Dry, Cannon Mills, Hills Bros. Coffee Company, Kellogg's, R. J. Reynolds, Steinway and Sons, United Airlines, and the United States Army. By the time of Ayer's hundredth anniversary in 1969, some of these companies had been Ayer clients for decades if not generations, and the longevity of those relationships was for many years a source of Ayer's strength.
But the advertising industry began to change in the late 1960s and 1970s, due in part to a "creative revolution." Small advertising agencies won attention with provocative copywriting and art direction that more closely resembled art than advertising. Advances in market research allowed clients to more narrowly tailor their advertising messages to distinct groups of consumers, and this led to a rise in targeted marketing which could more readily be doled out to specialized small agencies than to larger, established firms like NW Ayer & Son. The civil rights and anti-war movements also contributed to increasing public skepticism with the values of corporate America, and by extension, with some national advertising campaigns. Older, more conservative firms like Ayer were hard pressed to meet these new challenges.
About 1970, in an effort to meet these challenges and to establish a foothold on the West Coast, Ayer bought out two smaller agencies--Hixson & Jorgenson (Los Angeles) and Frederick E. Baker (Seattle). The agency relocated from Philadelphia to New York City in 1974 in an attempt both to consolidate operations (Ayer had operated a New York office since the 1920s) and to be closer to the historic center of the advertising industry. Riding the wave of mergers that characterized the advertising industry in the late 1980s and 1990s, Ayer continued to grow through the acquisition of Cunningham & Walsh in 1986 and Rink Wells in 19xx.
During this transitional period, Ayer received widespread acclaim for its work for the United States Army, which included the widely recognized slogan "Be All You Can Be". Ayer first acquired the Army recruitment account in 1967 and with help from its direct marketing arm, the agency was widely credited with helping the Army reach its recruitment goals despite an unpopular war and plummeting enlistments after the elimination of the draft in 1973. Ayer held the account for two decades, from the Vietnam War through the Cold War, but lost the account in 1986 amid government charges that an Ayer employee assigned to the account accepted kickbacks from a New York film production house. Despite Ayer's position as the country's 18th largest agency (with billings of $880 million in 1985), the loss of the agency's second largest account hit hard.
NW Ayer made up for the loss of the $100 million dollar a year Army account and made headlines for being on the winning end of the largest account switch in advertising history to date, when fast food giant Burger King moved its $200 million dollar advertising account from arch-rival J. Walter Thompson in 1987. Burger King must have had drive-thru service in mind, however, and Ayer made headlines again when it lost the account just eighteen months later in another record-breaking account switch. Another devastating blow to the agency was the loss of its lead position on the American Telegraph and Telephone account. Ayer pioneered telecommunications advertising in 1908, when the agency was selected to craft advertising for the Bell System's universal telephone service. Despite valiant efforts to keep an account the agency had held for most of the twentieth century, and for which they had written such memorable corporate slogans as American Telephone &Telegraph "The Voice with a Smile" and "Reach Out and Touch Someone", the agency lost the account in 1996.
After a wave of mergers and acquisitions in the late 1980s, the economic recession of the early 1990s hit Madison Avenue hard, and Ayer was particularly vulnerable. Despite the agency's long history and roster of "blue-chip" clients, Ayer was not known for cutting-edge creative work. Moreover, though the agency had offices overseas, Ayer had never built a strong multinational presence, and many of the smaller international offices were sold during the financial turmoil of the 1980s. This left a real void in the new climate of global marketplace consolidation. By about 1990, earnings were declining (although Ayer was still among the top twenty United States agencies in billings), and the agency was suffering from client defections, high management turnover, expensive real estate commitments and deferred executive compensation deals, all fallout of the high-flying 1980s. This was the atmosphere in 1993, when W.Y. Choi, a Korean investor who had already assembled a media and marketing empire in his homeland, began looking for an American partner to form an international advertising network. Jerry Siano, the former creative director who had recently been named Ayer's seventh CEO, was in no position to refuse Choi's offer of $35 million to buy the now floundering agency. The infusion of cash was no magic bullet, however. Choi took a wait-and-see approach, allowing his partner Richard Humphreys to make key decisions about Ayer's future, including the purging of senior executives and the installation of two new CEOs in as many years.
The agency's downward trend continued with the loss of another longtime client, the DeBeers diamond cartel in 1995. Adweek reported that Ayer's billings fell from $892 million in 1990 to less than $850 million in 1995. Several top executives defected abruptly, and the agency failed to attract major new accounts. Ayer was facing the loss not merely of revenue and personnel, but the loss of much of the respect it once commanded. Ayer remained among the twenty largest U.S. agencies, but an aura of uncertainty hung over the agency like a cloud. A new CEO was appointed, and Mary Lou Quinlan became the agency's first woman CEO in 1995. A year later, Ayer and another struggling top twenty agency, D'arcy, Masius, Benton & Bowles, combined as part of the McManus Group of companies. In 1998, the McManus Group had worldwide billings of more than $6.5 billion.
Under the McManus Group, Ayer was able to expand its international operations and begin to rebuild a stronger global presence. Several important new clients were won in 1997 and 1998, including Avon, General Motors, Kitchenaid, several Procter & Gamble brands and, most notably, Continental Airlines worldwide accounts. Born in the nineteenth century, Ayer may be one of a very few advertising agencies to successfully weather the economic and cultural transitions of both the twentieth and twentieth first centuries. Ayer was eventually acquired by the Publicis Groupe based in Paris, France which closed down the N.W. Ayer offices in 2002.
Materials in the Archives Center
Warshaw Collection of Business Americana (AC0060)
Hills Bros. Coffee Incorporated Records (AC0395)
The collection was donated by N W Ayer ABH International, April 15, 1975 and by Ayer & Partners, October 30, 1996.
The collection is open for research use.
Physical Access: Researchers must use microfilm copy. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audiovisual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Technical Access: Viewing the film portion of the collection without reference copies requires special appointment, please inquire; listening to audio discs requires special arrangement. Do not use original materials when available on reference video or audio tapes.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Reproduction permission from Archives Center: reproduction fees may apply. Publication and production quality duplication is restricted due to complex copyright, publicity rights, and right to privacy issues. All duplication requests must be reviewed and approved by Archives Center staff. Potential users must receive written permission from appropriate rights holders prior to obtaining high quality copies.
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.
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)
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
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).
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.
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.
The microfilm of this collection has been digitized and is available online via the Archives of American Art website.
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.
Art dealers -- New York (State) -- New York Search this
Downtown Gallery records, 1824-1974, bulk 1926-1969. Archives of American Art, Smithsonian Institution.
Funding for the processing, microfilming and digitization of the microfilm of this collection was provided by the Henry Luce Foundation. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The Abraham Rattner and Esther Gentle papers measure 26.3 linear feet and date from 1891 through the 1980s. The collection documents Rattner's life and career as an artist through interviews, extensive correspondence, gallery files, studio notebooks, writings, notes, date books and diaries, photographs, and works of art.
Scope and Content Note:
Abraham Rattner's papers provide insight into an important time for twentieth century American art and culture. By studying Rattner's papers, the researcher may view the beginnings of Modernism, the cultural change that pushed the boundaries of artistic and literary traditions and provided new ways in which to express ourselves.
The Abraham Rattner and Esther Gentle papers measure 26.3 linear feet and date from 1891 through the 1980s. The collection documents Rattner's life and career as an artist through interviews, extensive correspondence, gallery files, studio notebooks, writings, notes, date books and diaries, photographs, and works of art.
The biographical files contain documents such as Rattner's birth certificate, travel visas, his senior yearbook from 1912 which shows some of his early art work, and some of his awards. His birth certificate is of particular interest since it shows Rattner's birth date to be 1893 instead of the recognized 1895.
The correspondence offers great insight into the thoughts of many American and European artists and writers during the 1930s and 1940s. Rattner, a prolific writer, expressed many of his own thoughts and concerns through his letters, many of which are included in this collection. The vast amount of correspondence include letters from notable figures such as George Biddle, Kay Boyle, Paul Burlin, Norman Carton, Robert Coates, Stuart Davis, Adolph Dehn, Richard de Rochemont, John Dos Passos, Xavier Gonzales, John Howard Griffin, Ramon Guthrie, Robert Gwathmey, Weeks Hall, Stanley W. Hayter, Jean Helion, Hilaire Hiler, Joseph Hirsch, Stefan Hirsch, Carl Holty, Louis Kronberg, Rico Lebrun, Jacques Lipchitz, Earle Ludgin, Thalia Wescott Malcolm, Henry Miller, Joan Miro, Bror Julius Olsson Nordfeldt, Channing Peake, Henry Varnum Poor, Felix Ruvolo, Waverly Root, Jack Gage Stark, Frank C. Watkins, and Allen Weller, among others.
Rattner was engaged in a wide range of special art projects, and he kept detailed files on these projects. The projects spanned from 1940 through 1973 and included endeavors such as illustrations for Life magazine, stained-glass designs, mosaic and tapestry projects, as well as special paintings such as Victory--Jerusalem the Golden and The Gallows of Baghdad. Rattner's papers also detail the history of a fresco painted by Paul Gauguin entitled Joan d'Arcwhich Rattner purchased in France in 1925.
Rattner's forty year friendship with the writer Henry Miller is chronicled throughout the collection in the forms of correspondence, writings, printed material, phototographs and artwork. Their correspondence ranges from 1938 through 1978 and offers great insight into their relationship. Rattner and Miller's road trip from New York to New Orleans in 1940-1941 is documented in the series entitled Special Projects. Also included in the collection are printed material, such as biographical material on Miller, Miller's writings, literary announcements and reviews; Miller's writings on Rattner; and photographs of Miller.
The gallery files contain correspondence, receipts, and notes regarding the galleries which represented Rattner. Those galleries included the Rosenberg Gallery, the Downtown Gallery, and the Kennedy Gallery. A small series of exhibition files contain material about exhibitions held outside of Rattner's representative galleries.
Rattner's writings proved to be an outlet for his thoughts on painting, his inspirations, frustrations, and sadness. In addition to painting, Rattner was able to express his creativity through writing poetry. Writing also helped him work through his depression over the death of his first wife Bettina Bedwell.
He also kept finely detailed studio notebooks. The original order has been maintained, and they trace the history of almost each painting, drawing, and study attempted by Rattner. The notebooks often provide information regarding whether the work was sent to a gallery or given as a gift. Sometimes they contain correspondence or writings that reveal the inspiration for a work. They have been arranged in chronological order, according to Rattner's own filing system.
Rattner retained receipts for most of his art expenses. Arranged by decade, these receipts show the type of paint, colors, types of paper and brushes that he used.
Rattner also kept many household files and personal financial records. Household files contain insurance records, warranties and rental agreements, while the financial records contain returned checks and bank statements. Some bank statements from Esther Gentle Reproductions are also included. The household files and financial records are not filmed.
The date books and diaries reveal the aspects of daily life and the personal thoughts of Rattner and Esther Gentle. In many cases, Rattner shared his date books and diaries with Gentle. The early diaries are fascinating, especially the 1939 diary that discloses the Rattners' last days in France before escaping Nazism and returning to the United States.
Rettner's scrapbooks span from 1938 to 1952 and contain newspaper and magazine clippings that mention the artist or his work.
The printed material covers a period from 1930s through the 1980s and includes exhibition catalogs, exhibition announcements, clippings, and miscellaneous material such as an autograph book from 1969 and a map of Israel that shows Rattner's travel route. There is a large amount of unfilmed printed material that is listed in the series description.
Writings by others consists of writings on Rattner and other topics.
The collection contains many photographs taken of Rattner and taken by him, as well as photos of family, friends, his studio, travels, and photographs of Rattner's art. Photographs of notable people include Henry Miller, Joan Miro, John Dos Passos, Archibald MacLeish, and Malcolm Cowley, among others.
The amount of Rattner's art work included in the collection is small, but it is significant because it provides examples of his very early work, dating from 1912-1914. Some later studies are also present, as well as a number of random sketches. Color was very important to Rattner, and some of his color studies from the 1940s are also included. Art work by other artists is comprised of some small paintings by Max Weber, a water color by Henry Miller, a painting by Ken Buryd, as well as some work by unknown artists.
In addition to tracing Rattner's life and career, the collection also documents the lives of Rattner's two wives, Bettina Bedwell and Esther Gentle. Both women had profound effects on Rattner's work. Among Bettina Bedwell's papers are her diary, fashion sketches, and correspondence. Esther Gentle's papers include correspondence, writings, as well as papers documenting her business Esther Gentle Reproductions. There are a small amount of papers relating to Allen Leepa, Rattner's stepson with Esther Gentle.
See index for list of correspondents from various series.
The collection is arranged into twenty-four series based primarily on type of document or special project. Though concentrated in its own series, additional correspondence is scattered throughout the collection and may be found in special project files, gallery files, exhibition files, studio notebooks, and scrapbooks. The correspondence has been divided into two subseries, one chronological and the other according to Rattner's subject-oriented filing system. Special art projects have been organized by project, and placed in chronological order. The studio notebooks have also been divided into subseries, and all notebook pages maintain Rattner's original order. The first subseries of notebooks reflects Rattner's numbering system, while the second subseries is arranged chronologically. The vast amount of printed material has been divided into subseries, and all of the unfilmed printed material has been organized chronologically at the end of the series.
Within each series, material is arranged either in chronological order, or in some cases, according to Abraham Rattner's own organizational system.
Oversized materials from various series are housed in oversized folders 33-45 and are noted in the Series Description/Container Listing with see also/see references or in the container columns.
Series 1: Biographical Files, 1893-1978, undated (box 1; 0.2 linear ft.)
Series 2: Interviews, 1957-1975, undated (box 1; 7 folders)
Series 3: Correspondence Files, 1933-1978, undated (boxes 1-5; 4.3 linear ft.)
Series 4: Special Projects, 1940-1987, undated (boxes 5-6, ovs 33-35; 1.5 linear ft.)
Series 5: -- Joan d'Arc -- Fresco painted by Paul Gaugin, 1925-1963, undated (box 7, ov 36; 12 folders)
Series 6: Gallery Files, 1942-1975 (boxes 7-8; 1.5 linear ft.)
Series 7: Exhibition Files, 1963-1978 (boxes 7, 9; 9 folders)
Series 8: Writings, 1940-1972, undated (box 9; 0.9 linear ft.)
Series 9: Studio Notebooks, 1935-1975, undated (boxes 10-11; 1.9 linear ft.)
Series 10: Art Expenses, circa 1940-1970 (boxes 11-13; 0.7 linear ft.)
Series 11: Household Files, 1940-1970, undated (box 13; 0.8 linear ft.)
Series 12: Financial Records, 1933-1963 (boxes 13-14; 0.7 linear ft.)
Series 13: Notes and Lists, 1936-1972, undated (box 14; 0.5 linear ft.)
Series 14: Address Books, 1939-1977, undated (box 15; 1.0 linear ft.)
Series 15: Date Books/Diaries, 1937-1977, undated (boxes 16-17; 1.6 linear ft.)
Series 16: Scrapbooks, 1938-1952 (boxes 18-22; 1.5 linear ft.)
Series 17: Printed Material, 1920s-1980s, undated (boxes 23-26; 3.6 linear ft.)
Series 18: Writings by Others, 1945-circa 1980, undated (box 26; 20 folders)
Series 19: Photographs, 1891-1970s, undated (boxes 27-29; 1.6 linear ft.)
Series 20: Works of Art by Rattner, 1912-1914, 1940-1967, undated (box 30, ovs 37-44; 2.4 linear ft.)
Series 21: Works of Art by Others, undated (box 30, ov 45; 7 folders)
Series 22: Bettina Bedwell Papers, 1932-1947, undated (box 31; 0.4 linear ft.)
Series 23: Esther Gentle Papers, 1921-1984, undated (boxes 31-32; 1.3 linear ft.)
Series 24: Allen Leepa Papers, 1952-1969, undated (box 32; 8 folders)
Abraham Rattner was born in Poughkeepsie, New York in 1895. His parents immigrated to the United States to escape antisemitism in Czarist Russia. He was the second of six children, including his eldest brother Louis, younger brothers Manuel (Manny) and Harry, and his younger sisters Rose and Jennie.
Rattner's parents encouraged him to paint at a young age, and as he grew up, painting became a part of his daily life. He graduated from Poughkeepsie High School in 1912 and left to study architecture at George Washington University in Washington, D.C. At night, he took art courses at the Corcoran School of Art. He soon became a full-time art student, and applied for a scholarship to the Pennsylvania Academy of the Fine Arts in Philadelphia. He was accepted in 1919 and supported himself by doing illustrations for Philadelphia newspapers.
In 1917, World War I interrupted his studies. Rattner entered the United States Army in France where he became Sergeant of camouflage section, 40th Engineers. Camouflage, reflecting aspects of modern art in its form and pattern, made use of Rattner's artistic skills. During the second battle of the Marne, Rattner injured his back and returned to the States with an ailment that would affect him for the rest of his life.
Rattner returned to the Pennsylvania Academy and was awarded the Cresson scholarship to study art in Europe. He traveled for one year, then settled in Paris for the next twenty years. Those twenty years in Paris became the most formative for Rattner because he was able to study and experiment with Futurism, Cubism, and Expressionism. Post World War I Paris was the center of modern culture for Americans disillusioned by the destruction of the war. Expatriate writers, poets, and artists were searching for a culture that shunned the traditions of the past and exchanged ideas with one another at the lively Paris cafes and salons.
In 1924, Abraham Rattner married Bettina Bedwell, an American art student and fashion illustrator. Bettina became the Paris fashion correspondent for the New York News-Chicago Tribune Syndicate. In 1927, Rattner was a member of the Minotaure group, along with Picasso, Miro, Giacometti, Le Corbusier, Braque, Dali, and Reverdy. He also illustrated an article for Jon Dos Passos in Verve magazine in 1931.
Rattner's first one-man show was in 1935 at the Galerie Bonjean in Paris, which was followed by one-man shows at the Julien Levy Gallery in New York, the Arts Club of Chicago, and the Courvoisier Gallery in San Francisco.
The threat of Hitler and Nazism forced Rattner and his wife to flee Paris in 1939. Arriving in New York in early 1940, Rattner agreed to take a trip by car with the writer Henry Miller. Their route took them from New York to New Iberia, Louisiana via the East coast and Southern states. Their mission was to rediscover America, with Henry Miller writing about their experiences and Rattner sketching the scenery. Rattner's friendship with Henry Miller was an important one that lasted throughout his life.
During the 1940s, Rattner's art was widely exhibited. In 1941, he joined the Rosenberg Gallery in New York, and remained with the gallery for fourteen years. He won awards for his work such as the Temple Gold Medal in 1945 and second prize in the Pepsi-Cola Fourth Annual Art Competition in 1946. In 1947, Bettina Bedwell suddenly died due to a kidney infection, sending Rattner into a spiral of grief and depression. To escape depression, from 1947-1949, he taught at the New School for Social Research in New York.
In 1949, Rattner married Esther Gentle, an artist and business woman who ran an art reproductions business. In 1951, the Rattners moved to Rome where he worked as Artist in Residence at the American Academy. The next year, they moved to Illinois where he was the Artist in Residence at the University of Illinois. Ratter was awarded first prize in 1953 at the 23rd Corcoran Biennial Exhibition and also served as Vice-President of Artists' Equity. In 1956, Rattner was the Distinguished Visiting Professor at Michigan State University, and along with his stepson, Allen Leepa, established an art school on Long Island. In 1957, Rattner left the Rosenberg Gallery to join the Downtown Gallery. He felt he would professionally profit from representation by the well-known Edith Halpert; however, the next twelve years reflected a tumultuous relationship between the artist and the gallery owner.
In 1957, Rattner reached out to other forms of art and design. He experimented with mosaic, tapestry and stained-glass. He designed mosaic columns and tapestries for the Fairmont Temple Anche Chesed in Cleveland and a mosaic for a friary and college in Centerville, Ohio. His stained-glass designs were highly celebrated and respected. His most famous stained-glass piece was the window for the Chicago Loop Synagogue. For this piece, Rattner spent two years traveling to Paris to design and supervise every process involved in the design and installation of the window.
Rattner felt that while his paintings during the 1940s and 1950s were romantic and self-reflective, the 1960s marked a new inspirational period in his work. His painting reflected religious comment, bringing Rattner back in touch with his Jewish heritage, as well as reflecting a sense of social protest. In 1968, Rattner exhibited his painting Victory--Jerusalem the Golden to honor the celebration of Israel's twentieth anniversary of independence. It was also in 1968 that Rattner left the Downtown Gallery for the Kennedy Gallery. In 1969, he painted The Gallows of Baghdad series as a protest to the hanging of nine Jews by Iraqi authorities.
The 1970s marked a time of many exhibitions. In 1976, the National Collection of Fine Arts in Washington, D.C. sponsored an exhibition of his designs for stained-glass entitled "...and let there be light". Also, from 1976 through 1977, "Our America" exhibited Rattner's drawings from his 1940 U.S.A. trip with Henry Miller in England and in the United States. In 1977, Michigan State University bestowed upon him the Honorary Degree for Humanity. On February 14, 1978, Abraham Rattner died due to heart failure.
1893 -- Born June 8th in Poughkeepsie, New York.
1912 -- Graduated from Poughkeepsie High School.
1914-1917 -- Student at George Washington University, Corcoran School of Art and Pennsylvania Academy of the Fine Arts.
1917 -- Enlisted in the United States Army in France as Sergeant, camouflage section, 40th Engineers. Fought at Seicheprey, second battle of the Marne, and Chateau-Thierry.
1919 -- Returned to Pennsylvania Academy of the Fine Arts. Awarded Cresson traveling fellowship to Europe.
1920 -- Traveled in France, Spain, England, Belgium and Holland.
1921 -- Art student in Paris at Ecole des Beaux-Arts, Grand Chaumiere, and Academie Ranson.
1922 -- Lived and painted in Giverny, France.
1923 -- Returned to Paris.
1924 -- Married Bettina Bedwell, Paris fashion correspondent for the New York News-Chicago Tribune news syndicate. Exhibited at Salon d'Automne and Salon des Independants.
1927 -- Member of the Minotaure group in Paris.
1931 -- Illustrated article, "Fire," by John Dos Passos for Verve magazine.
1935 -- First one-person show at Galerie Bonjean, Paris. French government purchased Card Party for Museum of Impressionism, The Louvre.
1936 -- One-person show at Julien Levy Gallery, New York (also 1939, 1941); Arts Club of Chicago; Courvoisier Gallery, San Francisco (also 1941).
1940 -- Returned to the United States following Nazi invasion of France. Traveled with Henry Miller from New York to New Iberia, Louisiana.
1941 -- One-person shows: Stendahl Gallery, Los Angeles; Faulkner Memorial Art Gallery, Santa Barbara (also 1943); Paul Rosenberg Gallery, New York (also 1942, 1944, 1946, 1948-1950, 1952, 1956); Studio, New York.
1945 -- Awarded the Temple Gold Medal from the Pennsylvania Academy of Fine Arts. Wrote "An American in Paris" for Magazine of Art.
1946 -- Awarded second prize at the Pepsi-Cola Fourth Annual Art Competition.
1947 -- Death of Bettina Bedwell Rattner.
1948 -- Taught at the New School for Social Research, New York.
1949 -- Married Esther Gentle. Visiting artist at Yale University and at the Brooklyn Museum School. Awarded honorable mention at the Carnegie Institute Exhibition of American Painting.
1950 -- Awarded the Purchase Prize at the University of Illinois Biennial Exhibition.
1951 -- Artist in residence at the American Academy in Rome.
1952 -- Artist in residence at the University of Illinois.
1953 -- Awarded first prize at the 23rd Corcoran Biennial Exhibition. Served as Vice-President of Artists' Equity.
1954 -- Taught at the Art Students League. Panelist at the Design Conference in Aspen, Colorado.
1955 -- Exhibited drawings at the Chicago Art Institute.
1956 -- Distinguished Visiting Professor at Michigan State University. Established an art school in East Hampton and Sag Harbor, Long Island.
1957 -- Designed mosaic columns and tapestries for the Fairmont Temple Anche Chesed in Cleveland. One-person show at Downtown Gallery, New York (also 1958-1967).
1958 -- Designed mosaic wall for St. Leonard's Friary and College in Centerville, Ohio. Designed stained-glass windows for the Flint Institute of Arts, Michigan. Began designs for stained-glass window for the Chicago Loop Synagogue. Exhibited with Alexander Calder at the Corcoran Gallery of Art. Elected member of the National Institute of Arts and Letters. Awarded the Butler Memorial Prize at the Pennsylvania Academy of Fine Arts.
1959 -- Retrospective exhibition circulated by the American Federation of Arts. Exhibited at the Whitney Museum of Art.
1964 -- Exhibited at the Edinburgh International Festival in Scotland.
1968 -- Exhibited painting entitled Victory--Jerusalem the Golden at the celebration of Israel's 20th anniversary of independence.
1969 -- One-person shows: Kennedy Galleries, New York; Galerie Weil, Paris ( Baghdad Hangings), Galerie Belgique, Brussels ( Baghdad Hangings).
1970 -- Film commissioned by ABC-TV entitled "The Long Prayer of Abraham Rattner."
1972 -- Beggar's Opera lithographs exhibited at Circle Gallery, Chicago.
1976 -- Displayed stained-glass on religious themes with the National Collection of Fine Arts in Washington, D.C.
1977 -- "Our America" exhibition in England and the United States. Awarded Honorary Degree for Humanity from Michigan State University.
1978 -- Died on February 14th.
Index: List of Major Correspondents in Various Series:
These correspondents will be found in the following series: Correspondence, Special Projects, Gallery Files, Studio Notebooks, and Scrapbooks: Edward Albee, 1928-
John Anderson, 1904-
Bettina Bedwell, 1889-1947
George Biddle, 1885-1973
Kay Boyle, 1902-1992
Paul Burlin, 1886-1969
McClure Capps "Mac"
Norman Carton, 1908-1980
G. Alan Chidsey
Robert Coates, "Bob" 1897-1973
Malcolm Cowley, 1898-1989
Salvador Dali 1904-1989
Stuart Davis, 1894-1964
Adolph Dehn, 1895-1968
Richard de Rochemont
John Dos Passos, 1896-1970
Armand and Suzi D'usseau
Rene Lefebore Foinet
Gisele Freund, 1912-
Emily Genauer, 1911-
Esther Gentle, 1905-1984
Alberto Giacometti, 1901-1966
Xavier Gonzales, 1898-1993
John Howard Griffin
Ramon Guthrie, 1896-1973
Robert Gwathmey 1903-1988
Edith Gregor Halpert, 1900-1970
Stanley W. Hayter, 1901-1988
Jean Helion, 1904-1987
William H. Henrick
Hilaire Hiler, 1898-1966
Joseph Hirsch "Joe," 1910-1981
Stefan Hirsch, 1889-1964
Carl Holty, 1900-1973
Frederick I. Kann "Fred," 1886-
L.J. Konigsberg "Leib"
Louis Kronberg, 1872-1965
Rico Lebrun (Fredrico), 1900-1964
Allen Leepa, 1919-
Julian Levy, 1906-1981
Jacques Lipchitz, 1891-1973
Ward Lockwood, 1894-1963
Earle Ludgin, 1898-1981
Thalia Wescott Malcolm, 1888-
Reginald Marsh, 1898-1954
Archibald McLeish, 1892-
Henry Miller, 1891-1980
Joan Miro, 1893-1983
Anais Nin, 1903-1977
Bror Julius Olsson Nordfeldt "B.J.O.," 1878-1955
Channing Peake, 1910-1989
Peter Pollack, 1911-1978
Henry Varnum Poor 1888-1970
Hans Richter, 1888-1976
Shelden Rodman, 1909-
Waverly Root, 1903-1982
Felix Emmanuele Ruvolo, 1912-
Jack Gage Stark, 1882-1950
Benjamin Ellis Tepper
Frank C. Watkins (Franklin Chenault), 1894-1972
Allen Weller, 1907-
Separated Materials note:
Loaned material, including notebooks, writings, and some correspondence, were returned to Abraham Rattner after microfilming. This material is now part of the Abraham Rattner notes collection at the Leepa-Rattner Museum of Art at St. Petersburg College. Loaned material is available on reels D203-D205, D205A-D205B, and reel 1212, but is not described in this finding aid.
The collection was given to the Archives of American Art in stages by Abraham Rattner 1972-1983, by Esther Gentle 1986-1987, and by Gene Allen in 1992. The donated material that was previously filmed has been integrated and refilmed includes reels D203 and D205C-D205D. The material found on reels D205A-D205B was loaned by Rattner and the material found on reel 1212 was loaned by his sister, Jennie Allen.
The collection is open for research. Use of unmicrofilmed portion requires an appointment.
The Abraham Rattner and Esther Gentle 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.
The papers of museum director Perry Townsend Rathbone measure 4.3 linear feet and date from 1929 to 1985. The papers document Rathbone's career as museum director of the City Art Museum of St. Louis and the Boston Museum of Fine Arts, and his later work with Christie's New York office. Found within the papers are biographical materials, correspondence with friends and colleagues, writings, professional and project files, printed materials, and photographs, mostly of exhibitions.
Scope and Contents:
The papers of museum director Perry Townsend Rathbone measure 4.3 linear feet and date from 1929 to 1985. The papers document Rathbone's career as museum director of the City Art Museum of St. Louis and the Boston Museum of Fine Arts, and his later work with Christie's New York office. Found within the papers are biographical materials, correspondence with friends and colleagues, writings, professional and project files, printed materials, and photographs, mostly of exhibitions.
Biographical materials contain curriculum vitae, biographical sketches, citations for honorary degrees and for Rathbone's appointment as Chevalier of the French Legion of Honor, a passport, a transcript of an interview with Rathbone and articles written by others about Rathbone, including one by S. Lane Faison.
Correspondence is with Rathbone's friends and colleagues. Notable correspondents include Max Beckmann, Xavier Gonzalez, Hanns Swarzenski, Curt Valentin, Jane Sabersky, William R. Valentiner, and Marian Willard, among others. Rathbone knew several art historians and conservators who served in the U.S. Army as members of the Monuments, Fine Arts and Archives Section, also known as the Monuments Men. Correspondence with these colleagues is arranged together as a subseries and includes correspondence with S. Lane Faison, Thomas Carr Howe, Lamont Moore, Charles Parkhurst, Andrew Ritchie, George Leslie Stout, and Otto Wittman. Most of the correspondence with other Monuments Men is post World War II.
Writings by Rathbone consist of student papers, typescript drafts of articles and entries for exhibition catalogs, notes and notebooks from European trips, and lectures.
Professional files encompass a range of documents related to Rathbone's museum directorships, projects, travels and professional affiliations. The folders about his work at the City Art Museum of St. Louis and the Museum of Fine Arts in Boston include correspondence, reports, meeting minutes, press releases and notes. There are also folders on specific projects such as the renovation of the historic Dederer-Blodgett House and Rathbone's membership on various art commissions and committees. Also found within this series are correspondence, notebooks, receipts, itineraries and vouchers for Rathbone's business trips to Europe and other locations while working for the Boston Museum of Fine Arts.
Printed materials include news clippings, articles, press releases, a few art magazines and exhibition catalogues, and invitations to events. There are also black and white photographs of exhibitions, including a Max Beckmann exhibit, and a few images of Rathbone.
The collection is arranged as 6 series.
Series 1: Biographical Materials, 1930-1982 (0.1 linear feet; Box 1)
Series 2: Correspondence, 1940-1985 (1.1 linear feet; Box 1-2)
Series 3: Writings, 1929-1967 (0.8 linear feet; Box 2)
Series 4: Professional Files, 1938-1984 (2 linear feet; Box 2-4, OV 6)
Series 5: Printed Materials, 1954-1975 (0.2 linear feet; Box 4-5, OV 6)
Series 6: Photographs, 1936-1972 (0.1 linear feet; Box 5)
Biographical / Historical:
Perry Townsend Rathbone (1911-2000) was a prominent museum director who worked primarily in Boston and New York City. He was an early supporter of German Expressionism in America.
Rathbone was director of the City Art Museum of St. Louis from 1940-1955, moving on to direct the Museum of Fine Arts, Boston from 1954-1972, where he led a period of extensive reform. After retiring from the museum, he worked for one year for the Chase Manhattan Bank as an art consultant. Rathbone worked as director and senior vice president of Christies USA auction house from 1973-1987. After 1987, he continued working at Christies as a consultant.
Rathbone was born in Germantown, Pennsylvania on July 3, 1911 and grew up in New Rochelle, New York. He attended Harvard College, majoring in Art History and graduating in 1933. He then completed the graduate "museum course" taught by Professor Paul Sachs in 1934. The Paul Sachs museum course was famous for cultivating future directors at some of this country's most prestigious museums. After Harvard, Rathbone was appointed as curator of Alger House (later renamed the Grosse Pointe War Memorial), a branch of the Detroit Institute of Arts. Rathbone directed the ''Masterpieces of Art'' exhibit at the 1939 New York World's Fair. The success of the exhibit led to his appointment as director of the City Art Museum of St. Louis, Missouri in 1940 at the age of 29, making him the youngest American museum director at the time.
During World War II, Rathbone served in the U.S. Navy from late 1942-1945. He was a commissioned officer in charge of the Navy Art and Poster Section, Office of Public Relations in Washington, D.C. He supervised five Navy "combat artists," who painted naval battles and depicted the daily lives of soldiers. He also served as an officer in New Calcedonia. He separated from service as a Lieutenant Commander in late 1945. This collection does not contain records directly related to his military service. In 1945 Rathbone married Euretta de Cosson while on leave in Washington, D.C. They had three children together: Peter, Eliza, and Belinda.
Rathbone resumed his position as the director of the City Art Museum of St. Louis after the war. The Detroit Institute of Arts director William R. Valentiner introduced Rathbone to German Expressionism. Rathbone helped the German Expressionist painter Max Beckmann, labeled a ''degenerate artist'' by Hitler, and his wife immigrate to America and then arranged a teaching position for Beckmann at Washington University. Rathbone and Beckmann became close, and in 1948, Rathbone organized a Beckmann retrospective at the City Art Museum. Beckmann made a portrait of Rathbone and one of his wife Euretta. Rathbone gave the eulogy at Beckmann's funeral in 1950.
In 1955 Rathbone became the director of the Museum of Fine Arts (MFA) in Boston. During his tenure there he expanded the museum by 80,000 square feet, doubled the staff, and oversaw the renovations of 57 of the Museum's 189 galleries. He mounted exhibitions of Rembrandt, Matisse, Modigliani, Cezanne, van Gogh and Courbet. The Boston Museum's first acquisitions of Pablo Picasso, Alexander Calder, Constantine Brancusi, Paul Klee, Alberto Giacometti and other works by 20th-century artists occurred under Rathbone's directorship. Rathbone also served as curator of paintings and wrote the catalog essays for many of the museum's exhibitions. Working with Frances Weeks Hallowell, he established the first "Ladies Committee" for the museum, which substantially increased membership. He was appointed as Chevalier de Légion d'Honneur by the French government in 1964.
In 1969, the Museum of Fine Arts purchased what was believed to be a Raphael portrait of Eleonora Gonzaga, 1505, from a Genoa art dealer. The work was meant to be the highlight of the museum's centennial celebration. However controversy arose when the Italian government alleged that the work was smuggled out of the country and the museum was forced to return the painting to the Italian government. The situation caused Rathbone to resign in 1972.
At the request of David Rockefeller, Rathbone became an art consultant to Chase Manhattan Bank for one year. In 1973, he became director of Christie's auction house in New York and senior vice president in 1977, working there until 1987, when he retired but still worked as a consultant.
Perry Townsend Rathbone died on January 22, 2000 at the age of 88.
The Archives of American Art also holds an oral history interview of Perry Townsend Rathbone conducted in 1975-1976 by Paul Cummings for the Archives of American Art's oral history program.
Perry Townsend Rathbone donated his paper to the Archives of American Art in 1977 and 1988.
Use of original papers requires an appointment.
The Perry Townsend Rathbone 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.
Museum directors -- Massachusetts -- Boston Search this
Perry Townsend Rathbone papers, 1929-1985. Archives of American Art, Smithsonian Institution.
Processing of this collection was funded by the Samuel H. Kress Foundation.
The papers of Henry Varnum Poor measure 12.9 linear feet and date from 1873-2001, with the bulk from the period 1904-1970. Correspondence, writings, artwork, printed material and photographs document Poor's work as a painter, muralist, ceramic artist and potter, architect, designer, writer, war artist, educator and a co-founder of the Skowhegan School of Painting and Sculpture. Also found is extensive information about the design and construction of Crow House, his home in New City, New York, commissions for other architectural projects, and his personal life.
Scope and Content Note:
The papers of Henry Varnum Poor measure 12.9 linear feet and date from 1873-2001, with the bulk from the period 1904-1970. Correspondence, writings, artwork, printed material and photographs document Poor's work as a painter, muralist, ceramic artist and potter, architect, designer, writer, war artist, educator and a co-founder of the Skowhegan School of Painting and Sculpture. Also found is extensive information about the design and construction of Crow House, his home in New City, New York, commissions for other architectural projects, and his personal life.
Henry Varnum Poor's correspondence documents his personal, family, and professional life. Correspondents include family and friends, among them George Biddle, Charles Burchfield, John Ciardi, Marion V. Dorn (who became his second wife), Philip Evergood, Lewis Mumford, John Steinbeck, David Smith, and Mrs. John Work (Alice) Garrett. Among other correspondents are galleries, museums, schools, organizations, fans, former students, and acquaintances from his military service and travels. Family correspondence consists of Henry's letters to his parents, letters to his parents written by his wife, and letters among other family members.
Among the writings by Henry Varnum Poor are manuscripts of his two published books, An Artist Sees Alaska and A Book of Pottery: From Mud to Immortality. as well as the text of "Painting is Being Talked to Death," published in the first issue of Reality: A Journal of Artists' Opinions, April 1953, and manuscripts of other articles. There are also film scripts, two journals, notes and notebooks, lists, speeches, and writings by others, including M. R. ("Muktuk") Marston's account of Poor rescuing an Eskimo, and Bessie Breuer Poor's recollections of The Montross Gallery.
Subject files include those on the Advisory Committee on Art, American Designers' Gallery, Inc., William Benton, Harold Dickson, Reality: A Journal of Artists' Opinions Sales, and War Posters. There are numerous administrative files for the Skowhegan School of Painting and Sculpture.
Artwork by Henry Varnum Poor consists mainly of loose drawings and sketches and 45 sketchbooks of studies for paintings, murals, and pottery. There is work done in France, 1918-1919, and while working as a war correspondent in Alaska in 1943. There are commissioned illustrations and some intended for his monograph, A Book of Pottery: From Mud to Immortality. Also found are a small number of watercolors and prints. Work by other artists consist of Anne Poor's drawings of her father's hands used for the Lincoln figure in The Land Grant Frescoes and interior views of Crow House by Ernest Watson.
Documentation of Poor's architectural projects consists of drawings and prints relating to houses designed and built for Jules Billing, MacDonald Deming, John Houseman, Burgess Meredith, Isabel Padro, and Elizabeth S. Sargent. Also found is similar material for the new studio Poor built in 1957 on the grounds of Crow House.
Miscellaneous records include family memorabilia and two motion picture films, Painting a True Fresco, and The Land Grant Murals at Pennsylvania State College.
Printed material includes articles about or mentioning Poor, some of his pottery reference books, family history, a catalog of kilns, and the program of a 1949 Pennsylvania State College theater production titled Poor Mr. Varnum. Exhibition catalogs and announcements survive for some of Poor's shows; catalogs of other artists' shows include one for Theodore Czebotar containing an introductory statement by Henry Varnum Poor. Also found is a copy of The Army at War: A Graphic Record by American Artists, for which Poor served as an advisor. There are reproductions of illustrations for An Artist Sees Alaska and Ethan Frome, and two Associated American Artists greeting cards reproducing work by Poor.
Photographs are of Henry Varnum Poor's architectural work, artwork, people, places, and miscellaneous subjects. This series also contains negatives, slides, and transparencies. Images of architectural work include exterior and interior views of many projects; Poor's home, Crow House, predominates. Photographs of artwork by Poor are of drawings, fresco and ceramic tile murals, paintings, pottery and ceramic art. People appearing in photographs include Henry Varnum Poor, family members, friends, clients, juries, students, and various groups. Among the individuals portrayed are Milton Caniff, Marcel Duchamp, Wharton Esherick, M. R. ("Muktuk") Marston, and Burgess Meredith. Among the family members are Bessie Breuer Poor, Marion Dorn Poor, Anne Poor, Eva Poor, Josephine Graham Poor, Josephine Lydia Poor, Peter Poor, and unidentified relatives. Photographs of places include many illustrating village life in Alaska that were taken by Poor during World War II. Other places recorded are French and California landscapes, and family homes in Kansas. Miscellaneous subjects are exhibition installation views, scenes of Kentucky farms, and a photograph of Poor's notes on glazes.
The collection is arranged as 9 series:
Series 1: Biographical Materials, 1919-1987 (0.2 linear feet; Box 1, OV 18)
Series 2: Correspondence, 1873-1985 (1.5 linear feet; Boxes 1-2)
Series 3: Writings and Notes, circa 1944-1974 (0.6 linear feet; Boxes 2-3)
Series 4: Subject Files, 1928-1975 (0.8 linear feet; Box 3, OV 23)
Series 5: Artwork, circa 1890s-circa 1961 (3.5 linear feet; Boxes 4-6, 9-10, OV 19-22)
Series 6: Architectural Projects, circa 1940-1966 (0.7 linear feet; Box 6, OV 24-26, RD 14-17)
Series 7: Miscellaneous Records, 1882-1967 (Boxes 6, 11, FC 30-31; 0.5 linear ft.)
Series 8: Printed Material, 1881-2001 (1.2 linear feet; Boxes 6-7, 11, OV 27-29)
Series 9: Photographs, 1893-1984 (2.3 linear feet; Boxes 7-8, 12-13)
Henry Varnum Poor (1888-1970), best known as a potter, ceramic artist, and a co-founder of the Skowhegan School of Painting and Sculpture, was also an architect, painter, muralist, designer, educator, and writer who lived and worked in New City, New York.
A native of Chapman, Kansas, Henry Varnum Poor moved with his family to Kansas City when his grain merchant father became a member of the Kansas Board of Trade. From a young age he showed artistic talent and spent as much time as possible - including school hours - drawing. When a school supervisor suggested that Henry leave school to study at the Art Institute of Chicago, the family disagreed. Instead, he enrolled in the Kansas City Manual Training High School where he delighted in learning skills such as carpentry, forge work, and mechanical drawing. In 1905, he moved with his older brother and sister to Palo Alto, California and completed high school there. Because Poor was expected to join the family business, he enrolled at Stanford University as an economics major, but much to his father's disappointment and displeasure, soon left the economics department and became an art major.
Immediately after graduation in 1910, Poor and his major professor at Stanford, Arthur B. Clark, took a summer bicycling tour to look at art in London, France, Italy, and Holland. As Poor had saved enough money to remain in London after the summer was over, he enrolled in the Slade School of Art and also studied under Walter Sickert at the London County Council Night School. After seeing an exhibition of Post-Impressionism at the Grafton Galleries in London, Poor was so impressed that he went to Paris and enrolled in the Académie Julian. While in Paris, Poor met Clifford Addams, a former apprentice of Whistler; soon he was working in Addams' studio learning Whistler's palette and techniques.
In the fall of 1911, Poor returned to Stanford University's art department on a one-year teaching assignment. During that academic year, his first one-man show was held at the university's Old Studio gallery. He married Lena Wiltz and moved back to Kansas to manage the family farm and prepare for another exhibition. Their daughter, Josephine Lydia Poor, was born the following year. Poor returned to Stanford in September 1913 as assistant professor of graphic arts, remaining until the department closed three years later. During this period, Poor began to exhibit more frequently in group shows in other areas of the country, and had his first solo exhibition at a commercial gallery (Helgesen Gallery, San Francisco). In 1916, Poor joined the faculty of the San Francisco Art Association. He and his wife separated in 1917 and were divorced the following year. Poor began sharing his San Francisco studio with Marion Dorn.
During World War I, Poor was drafted into the U. S. Army, and in 1918 went to France with the 115th Regiment of Engineers. He spent his spare time drawing; soon officers were commissioning portraits, and Poor was appointed the regimental artist. He also served as an interpreter for his company. Discharged from the Army in early 1919, Poor spent the spring painting in Paris. He then returned to San Francisco and married Marion Dorn.
Once Poor realized that earning a living as a painter would be extremely difficult in California, he and his new wife moved to New York in the autumn of 1919. They were looking for a place to live when influential book and art dealer Mary Mowbray-Clarke of the Sunwise Turn Bookshop in Manhattan suggested New City in Rockland County, New York as good place for artists. In January of 1920, the Poors purchased property on South Mountain Road in New City. The skills he acquired at the Kansas City Manual Training High School were of immediate use as Poor designed and constructed "Crow House" with the assistance of a local teenager. Influenced by the farmhouses he had seen in France, it was made of local sandstone and featured steep gables, rough plaster, chestnut beams and floors, and incorporated many hand-crafted details. Poor designed and built most of their furniture, too. Before the end of the year, he and Marion were able to move into the house, though it remained a work in progress for many years. Additions were constructed. Over time, gardens were designed and planted, and outbuildings - a kiln and pottery, work room, garage, and new studio - appeared on the property.
In 1925, two years after his divorce from Marion Dorn, Poor married Bessie Freedman Breuer (1893-1975), an editor, short story writer, and novelist. Soon after, he adopted her young daughter, Anne (1918-2002), an artist who served as his assistant on many important mural commissions. Their son, Peter (b. 1926) became a television producer. Crow House remained in the family until its sale in 2006. In order to prevent its demolition, Crow House was then purchased by the neighboring town of Ramapo, New York in 2007.
Between 1935 and 1966 Poor designed and oversaw construction of a number of houses, several of them situated not far from Crow House on South Mountain Road. Poor's designs, noted for their simplicity, featured modern materials and incorporated his ceramic tiles. Among his important commissions were houses for Maxwell Anderson, Jules Billig, Milton Caniff, MacDonald Deming, and John Houseman.
Poor's first exhibition of paintings in New York City was at Kevorkian Galleries in 1920, and sales were so disappointing that he turned his attention to ceramics. His first pottery show, held at Bel Maison Gallery in Wanamaker's department store in 1921, was very successful. He quickly developed a wide reputation, participated in shows throughout the country, and won awards. He was a founder of the short-lived American Designers' Gallery, and the tile bathroom he showed at the group's first exposition was critically acclaimed. Poor was represented by Montross Gallery as both a painter and potter. When Montross Gallery closed upon its owner's death in 1932, Poor moved to the Frank K. M. Rehn Gallery.
Even though Poor's pottery and ceramic work was in the forefront, he continued to paint. His work was acquired by a number of museums, and the Limited Editions Club commissioned him to illustrate their republications of Ethan Frome, The Scarlet Letter, and The Call of the Wild.
Poor's first work in true fresco was shown in a 1932 mural exhibition at the Museum of Modern Art. Between 1935 and 1949 he was commissioned to produce several murals in fresco for Section of Fine Arts projects at the Department of Justice and the Department of the Interior, The Land Grant Frescoes at Pennsylvania State College, and a mural for the Louisville Courier-Journal. Ceramic tile mural commissions included: the Klingenstein Pavilion, Mt. Sinai Hospital, New York City; Travelers Insurance Co., Boston; the Fresno Post Office, California; and Hillson Memorial Gallery, Deerfield Academy, Deerfield, Mass.
As a member of the War Artists' Unit, Poor was a "war correspondent" with the rank of major in World War II, and for several months in 1943 was stationed in Alaska. An Artist Sees Alaska, drawing on Poor's observations and experiences, was published in 1945. A Book of Pottery: From Mud to Immortality, his second book, was published in 1958. It remains a standard text on the subject. While on the faculty of Columbia University in the 1950s, Poor and other artists opposed to the growing influence of Abstract Expressionism formed the Reality Group with Poor the head of its editorial committee. Their magazine, Reality: A Journal of Artists' Opinions, first appeared in 1953 featuring "Painting is Being Talked to Death" by Poor as its lead article. Two more issues were published in 1954 and 1955.
Along with Willard Cummings, Sidney Simon, and Charles Cuttler, in 1946 Henry Varnum Poor helped to establish the Skowhegan School of Painting and Sculpture in Skowhegan, Maine. He served as its first president. Poor and his daughter, Anne, were active members of the Board of Trustees and were instructors for many years. The summer of 1961 was Henry Varnum Poor's last as a full-time teacher, though he continued to spend summers at Skowhegan.
Henry Varnum Poor exhibited widely and received many awards, among them prizes at the Carnegie Institute, Syracuse Museum of Fine Arts, Virginia Museum of Fine Arts, Pennsylvania Academy of the Fine Arts, and the Architectural League of New York. Poor was appointed to the United States Commission of Fine Arts by President Roosevelt in 1941 and served a five year term. He was elected a member of the National Institute of Arts and Letters in 1943. The National Academy of Design named him an Associate Artist in 1954 and an Academician in 1963. He became a trustee of the American Craftsman's Council in 1956. The work of Henry Vernum Poor is represented in the permanent collections of many American museums including the Cleveland Museum of Art, Metropolitan Museum of Art, Brooklyn Museum, Addison Gallery of American Art, and Syracuse Museum of Fine Arts.
Henry Varnum Poor died at home in New City, New York, December 8, 1970.
An oral history interview with Henry Varnum Poor was conducted by Harlan Phillips for the Archives of American Art in 1964.
Gift of Henry Varnum Poor's son, Peter V. Poor, in 2007. A smaller portion was loaned to the Archives in 1973 by Anne Poor for microfilming and returned to the lender; this material was included in the 2007 gift.
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.
The Henry Varnum Poor 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.
The papers of LeRoy Neiman measure approximately 70.5 linear feet and date from 1938-2005. The collection includes biographical materials, correspondence, project files, printed material and artifacts documenting the career of the American painter LeRoy Neiman.
Scope and Content Note:
The papers of LeRoy Neiman measure approximately 70.5 linear feet and date from 1938 to 2005. The collection includes biographical materials, correspondence, project files, printed material and artifacts documenting the career of the American painter LeRoy Neiman.
Biographical material pertains to the artist's family, military service, education and teaching experience and representing galleries and publishers and includes artist biographies, awards, distinctions, and membership information.
Correspondence includes personal and business correspondence as well as collections of cards and literature on other artists, Neiman's notes and jottings, art work by children, and office records.
Project files document specific projects or art events in which Neiman was involved, including commissions, promotions, collaborations, serigraph printings, and publications.
Printed material includes newspapers, magazines, catalogs, fliers, invitations, brochures, press releases, film scripts and small posters.
Artifacts include three-dimensional items, clothing, souvenirs and LeRoy Neiman paraphernalia.
The collection is arranged as 5 series:
Series 1: Biographical Material, 1938-2004, undated (Boxes 1-3, 77; 3.3 linear feet)
Series 2: Correspondence, circa 1960s-2004, undated (Boxes 3-19)
Series 3: Project Files, 1949-2005, undated (Boxes 20-39, 78-81)
Series 4: Printed Material, circa 1940s-circa 2005, undated (Boxes 40-61, 82-83, OV 85)
Series 5: Artifacts, 1953-2002, undated (Boxes 69-76, 84)
LeRoy Neiman has been described as the most popular living painter in America. While strikingly original, his work reflects the varied influences of Toulouse-Lautrec, Dufy, the New York Social Realists, and the Abstract Expressionists. Probably best known as a portrayer of sporting and social events, he virtually invented the modern genre of sports art and remains its most accomplished and acclaimed practitioner.
Among many other accomplishments, he was the first and only on-camera official artist for ABC-TV at the Olympics in Munich, 1972 and Montreal, 1976, and covered several other winter and summer Olympiads as an official artist. He was the first artist to create live, on-camera computer art while covering the 1978 Super Bowl in New Orleans for CBS-TV. In 1997 he was selected as the first official artist of the Kentucky Derby. But Neiman's interests range far and wide. As a painter, printmaker, and author, his subjects have included Parisian cafés, African safaris, famous bars, five-star restaurants, urban street scenes, the opera, political figures, jazz musicians, entertainers, stage and screen stars, gambling casinos, portraits, international stock exchanges, and much more.
For the past quarter-century, Neiman has created limited-edition serigraphs (silk-screen prints). Published and distributed exclusively by Knoedler Publishing, they are sold in selected galleries throughout the United States. By one estimate, the more than 150,000 Neiman prints that have been purchased to date have an estimated market value exceeding $400 million. Neiman is the author of twelve books: Horses, LeRoy Neiman Posters, Winners, which was also published in Japanese, Big Time Golf, LeRoy Neiman: An American in Paris, LeRoy Neiman on Safari, and LeRoy Neiman: Five Decades, all published by Harry N. Abrams, as well as Art and Life Style, Carnaval, Monte Carlo Chase, Casey at the Bat, and the newly-released limited edition LeRoy Neiman Sketchbook: Liston vs. Clay 1964/ Ali vs. Liston 1965, 2004. Knoedler Publishing has published The Prints of LeRoy Neiman, Volumes I-III, a catalogue raisonnes on Neiman's limited edition prints.
Over the years the artist has donated scores of his artworks to dozens of charitable causes and organizations. Through his work with the Good Tidings Foundation, two LeRoy Neiman Art Centers for Youth have been built in elementary schools in California. In 1995, he gave the School of the Arts at Columbia University in New York City an endowment of $6 million to create the LeRoy Neiman Center for Print Studies, dedicated to the study of fine art printmaking and the development of new methods of printmaking, and including a scholarship program. A 1998 donation led to the creation of the LeRoy Neiman Center for the Study of American Culture and Society at UCLA.
Neiman's work is represented in the Art Institute of Chicago, the Whitney Museum, the Minneapolis Museum of Art, the Hermitage of St. Petersburg and numerous other museums and public and private collections worldwide. A past member of the New York City Advisory Commission for Cultural Affairs, Neiman has received five honorary degrees and, among other honors, an Award of Merit from the American Athletic Union, a Gold Plate Award from the American Academy of Achievement, and a Lifetime Achievement Award from the Muscular Dystrophy Association, in addition to being named Boxing Artist of 1966 by Lonsdale, London.
1921 -- Born June 8 in St. Paul, Minnesota.
1942-46 -- Leaves high school to enlist in the army; serves four years in Europe.
1946 -- Studies at the St. Paul Gallery and School of Art with Clement Haupers.
1946-50 -- Student at the School of the Art Institute of Chicago; studies with Boris Anisfeld; studies liberal arts at University of Illinois and De Paul University, Chicago.
1950-60 -- Member of the Faculty, School of the Art Institute of Chicago, teaching figure drawing and fashion drawing.
1952 -- Exhibits in Twin City Show at Minneapolis Institute of Arts; wins Chicago Art Directors Award.
1953 -- Begins using enamel house paints; develops interest in drawing horse racing at Arlington Park; wins First Prize for painting "Idle Boats", a purchase prize, at Twin City Show, Minneapolis Institute of Art.
1954 -- Begins association with Playboy magazine illustrating Charles Beaumont story, which wins Chicago Art Directors Award; exhibits for first time in Chicago Artists and Vicinity Show, where he continues to show for next six years; wins Second Prize, Minnesota State Show; exhibits at Philadelphia Art Alliance.
1955 -- Instructor of painting at Elmwood Park Art League and North Shore Art League; exhibits at the Carnegie Pittsburgh International Exhibition of Contemporary Painting; creates the "Femlin" symbolic character which appears in Playboy for next 47 years; wins New York Art Directors Award.
1956 -- Included in "New Talent in America in 1956", published in Art in America, February 1956; delves deeper into Chicago sports scene, draws Chicago Bears, Blackhawks and boxing.
1957 -- Exhibits in Corcoran Gallery of Art "American 25th Biennial Exhibition", Washington, D.C.; awarded most popular prize out of 3,000 entries as well as the juried Clark Memorial Prize and Vicinity Show; first television appearance on Art Institute of Chicago TV show, "Artist's Choice"; painting instructor at School of the Art Institute of Chicago Summer Session and for two years at Ox-Bow Summer School, Saugatuck, Michigan teaching landscape painting; marries art student Janet Byrne.
1958 -- Exhibits at the "Society of Contemporary American Art Exhibition", Art Institute of Chicago, for three years; begins extensive travels for Playboy magazine, creating a feature on the high life called "Man at His Leisure", which appears regularly for the next 15 years; wins Municipal Art Award at "Chicago Artist and Vicinity Show", and Hamilton & Graham Cash Prize, Ball State Teachers College Drawing Show, Muncie, Indiana.
1959 -- Holds one-man show of racing scenes at Arlington Park Race Track, Chicago; shows in "Jazz Exhibition" and "Social Observation and Comment in Art Show" in Chicago.
1960 -- Paints at Squaw Valley Winter Olympic Games; travels six months through Europe covering sporting and social events, the Grand National Steeplechase, Epsom Derby, Ascot, and the Oxford-Cambridge boat race in England, Maxim's Tour d'Argent, the Lido and Folies Bergere in Paris, the Cannes Film Festival and St. Tropez, Fiesta de San Isidro bullfights in Madrid, the Grand Prix in Monaco auto race.
1960-1970 -- Executes over one hundred paintings and two murals for eighteen Playboy Clubs.
1961 -- Takes studio in Paris; does studies of Deauville social season and sketches the great restaurants of France; sketches Dublin Horse Show and cricket at Lord's in London; wins gold medal for oil painting at the "Salon d'Art Moderne", Paris.
1962 -- Sketches Bordeaux wine country, Paris fashion shows, racing at Longchamp, and Giraglia Yacht Race on Riviera; paints Regatta of the Gondoliers in Venice; does studies of Fellini directing "8 ½" and sketches at Cine Citta studios in Rome; visits U.S. to work on commission for 12 paintings of the Indianapolis 500.
1963 -- Returns from Paris; establishes a studio in New York; teaches painting at Arts and Crafts, Inc., Winston-Salem, North Carolina; holds first one-man exhibition in New York at Hammer Galleries; travels to Mexico with Shel Silverstein; sketches in Mexico City and Acapulco.
1964 -- Starts series of Muhammad Ali sketches and paintings which spans the next 15 years; sketches America's Cup Challenge at Newport, Rhode Island; returns to England to sketch London night life and Prince Phillip playing polo at Windsor; paints the Tour de France in Paris.
1965 -- Commemorates Sugar Ray Robinson with 8' x 6' portrait "Farewell to Boxing" unveiled at Madison Square Garden ceremony; paints portrait of Mae West and poet Marianne Moore.
1966 -- Sketches Kentucky Derby; in London paints personalities and scenes including the Beatles and Carnaby Street, Kenneth Tynan, Sir Ralph Richardson; paints surfing in California; executes mural for Swedish-Lloyd Ship, S. S. Patricia; creates art for film "Casino Royale"; sketches indoor polo for opening of Houston Astrodome.
1967 -- Sketches and paints leading figures in the arts, sports and entertainment world, including Leonard Bernstein, Joe Louis, Frank Sinatra, Brigitte Bardot and ballerina Suzanne Farrell; paints "24 Hours of LeMans", nudist scenes on the Dalmatian Coast of Yugoslavia, the Fiesta at Pamplona, the dolce vita of Rome.
1968 -- Paints the Kirov and Bolshoi ballets in Russia; is named artist-in-residence from the bench of the New York Jets football team; executes critical sketches of the 1968 Democratic National Convention in Chicago; paints Bobby Hull for Time magazine cover; contributed drawings for Harpers magazine articles on Cassius Clay and on Bobby Kennedy and race relations; initiates art class for Atlanta Poverty Program.
1969 -- Sketches civil rights figures and teaches art in Atlanta Poverty Program; creates poster for Kurt Weill Off-Broadway show and program cover for Oh! Calcutta; sketches New York City Ballet; appears regularly on TV as New York Jets artist-in-residence; collaborates with Dave Anderson on book, Countdown to Super Bowl; covers horse racing at Ascot and Longchamp, camel racing in Morocco.
1970 -- Paints backdrop for Broadway play Borstal Boy and does album cover for Fifth Dimension; exhibits in the Time magazine "Covers Show" at the National Portrait Gallery of the Smithsonian Institution, Washington D.C.; sketches sporting and social events in Dublin, and holds one-man show at the Abbey Theatre; travels with Hugh Hefner in Europe, Greece and Africa; sketches wildlife on safari in Africa; creates poster for Ali-Quarry fight, Ali's return to the ring in Atlanta; paints $100,000 baseball players for book, This Great Game; paints New York Stock Exchange.
1971 -- Has one-man exhibition at Museo de Bellas Artes in Caracas; travels to Monte Carlo, London, Paris and Switzerland; develops interest in printmaking; creates two-part TV program on the art of lithography and produces etchings and lithographs at Atelier Weber in Zurich; creates official poster and draws pre-fight sketches of Ali-Frazier Super Fight I at Madison Square Garden for The New York Times Magazine cover and post-fight sketches for ABC-TV; illustrates Jose Torres' book on Ali, Sting Like a Bee.
1972 -- Covers Fischer-Spasky world champion chess tournament at Reykjavik, Iceland and Munich Olympic Games, both on camera for ABC-TV; covers World Series for NBC-TV; creates serigraph of Knicks-Lakers championship game; paints Super Bowl for Time magazine cover; and cover for Golf Digest.
1973 -- Creates Super Bowl art for CBS-TV; sketches the Masters Golf Tournament for Golf Digest magazine; paints commission for Museum of Jazz; creates serigraph of Triple Crown winner Secretariat; sketches Foreman-Frazier fight in Jamaica; travels on multi-city tour and exhibit of Olympic serigraphs; nineteen serigraphs chosen by the Hermitage Museum, St. Petersburg, for its permanent collection.
1974 -- Has exhibition in Tokyo and sketches sumo, baseball and horse racing for Japanese TV; covers Stanley Cup hockey playoffs for NBC-TV; creates poster for Newport Jazz Festival and for next 5 years; creates poster for Ali-Foreman fight in Kinshasa, Zaire, and for Frank Sinatra concert at Carnegie Hall; Art and Lifestyle is published.
1975 -- Creates official St. Paul Bicentennial poster; given major retrospective at the Minnesota Museum of Art; creates official program cover for World Series; creates poster for Ali-Frazier III and paints cockfights in Manila; creates first of four annual posters for Robert F. Kennedy Pro-Celebrity Tennis Tournament; book The Artist's Limited Edition of Moby Dick is published.
1976 -- Paints mural on camera as ABC-TV Official Artist at Olympic Games, Montreal; paints on French Riviera; holds one-man show at Knoedler Gallery in London; exhibits in national invitational "Watercolor USA Show" at Springfield Art Museum, Missouri, and "Drawings USA Show" at the Minnesota Museum of Art; paints Harlem scene for Jazzmobile poster; paints Chris Evert for Saturday Evening Post cover.
1977 -- Holds one-man shows in Stockholm and Helsinki; works in Paris; paints NBA All-Star game; creates poster for Lacrosse USA.
1978 -- Performs first live execution of computer art for CBS-TV coverage of Super Bowl, New Orleans; creates poster for Bill Bradley senatorial campaign; creates poster for Ali-Spinks II match in New Orleans.
1979 -- Appointed Grand Marshal with Jesse Owens at The Drake Relays in Des Moines, Iowa; paints the Ginza, Kamakura Buddha, Mount Fuji in Japan, Royal Ascot in London, and Pan-Am Games in Puerto Rico, for CBS-TV; book Horses is published.
1980 -- Appointed Official Artist of the 1980 Lake Placid Winter Olympic Games and Official Artist of the Democratic National Convention, New York; paints commission for Caesar's Palace, Las Vegas; sketches Carnaval in Rio de Janeiro; presents painting commemorating signing of Arab-Israeli peace treaty at Camp David to President Carter at the White House; book Posters is published.
1981 -- Holds two-man exhibition with Andy Warhol at Los Angeles Institute of Contemporary Art, California; executes 24' x 16' portrait of Sylvester Stallone for Rocky film; creates art and appears as ring announcer in Rocky films II, III, IV and V; book Carnaval is published.
1982 -- Has one-man exhibition at Harrod's, and paints the "The Stock Exchange, London"; creates poster for Kool Jazz Festival; paints and exhibits in Tokyo.
1983 -- Has one-man exhibitions in Los Angeles, San Francisco and New Orleans; executes billboard, television commercial and program for Lido show at the Tropicana, Las Vegas; book Winners is published.
1984 -- Appointed Official Artist, Winter Olympics, Sarajevo, Yugoslavia and Summer Olympics, Los Angeles.
1985 -- Returns to Brazil to paint Gavea Golf and Country Club in Rio de Janeiro and stock exchange in Sao Paulo; named Honorary Marshal at St. Paul Winter Carnival; Japanese version of Winners is published.
1986 -- Appointed Official Artist, Goodwill Games in Moscow for Turner Broadcasting Network; paints America's Cup commission for the New York Yacht Club.
1987 -- Paints and makes video documentaries of Old St. Andrews in Scotland and the Riviera in France; paints Indianapolis 500 auto race commission; presents "Minute Man" poster to President Reagan at the White House.
1988 -- Holds one-man exhibitions in Japan and Moscow; executes mural for Golden Nugget, Las Vegas; paints commission for the Caribbean Classic at Caliente Racetrack in Tijuana, Mexico; paints and makes video documentary of "Napoleon at Waterloo"; book Monte Carlo Chase is published.
1989 -- Paints Frank Sinatra, Liza Minelli and Sammy Davis, Jr. at Royal Albert Hall, London; sketches the World Series at Candlestick Park in San Francisco during earthquake; does sketches and paintings and video documentary of New York's Central Park, and holds exhibition at the boathouse in the park.
1990 -- Executes commemorative painting for 100th anniversary of Los Angeles Dodgers; holds one-man exhibition for inaugural Grand Prix auto race in Denver; paints the Masters Golf Tournament in Augusta, Georgia; travels and sketches in Rome, Paris and Hong Kong.
1991 -- Executes commissioned paintings for 25th anniversary of Spectrum Stadium, Philadelphia, and 10th anniversary of Miami Grand Prix and of Joe Morgan and Jim Palmer for Baseball Hall of Fame induction; travels to Japan to paint geishas, the Ginza and golf; creates Michael Jordan serigraph and poster; works on sketchbooks and paintings in Paris and Berlin.
1992 -- Paints Tom Seaver for Baseball Hall of Fame induction; paints suite of four famous golf courses in conjunction with publication of Big-Time Golf; works on sketchbooks and paintings in Venice, Milan and Rome; honored by the Art Institute of Chicago as an outstanding alumnus; commissioned to paint Bobby Orr by Polaroid.
1993 -- Paints Reggie Jackson for Baseball Hall of Fame induction, Larry Bird for Boston Garden, and Iroquois Steeplechase, Nashville; creates poster for CBS-TV film Call of the Wild; holds one-man exhibition at the Kentucky Derby Museum; paints Frank Sinatra for cover of "Duets" album.
1994 -- Paints Pebble Beach Golf Clubhouse; creates poster for CBS-TV film The Yearling, attends and paints Super Bowl XXVIII in Atlanta; paints in Monte Carlo and Venice; goes on to paint safari in Kenya; sketches Luciano Pavarotti at Metropolitan Opera; paints Frank Sinatra for "Duets II" album; book An American in Paris is published.
1995 -- Paints Babe Ruth for the Baseball Hall of Fame, U.S. Open at Shinnecock Golf Course, and Rockefeller Center; creates 40-foot mural on Broadway theater for Tommy Tune's musical, Busker Alley; gives 30-year retrospective exhibition at the Kentucky Derby Museum; appointed a member of the New York City Advisory Commission for Cultural Affairs; honored by Playboy for the 40th anniversary of the Femlin character.
1996 -- Commissioned by United Nations to create six postage stamps for the Centennial Olympic Games in Atlanta; paints Super Bowl XXX in Phoenix, Arizona; honored by Boxing Writers and England's Lonsdale Boxing Club; paints "Hall of Famer" for the Baseball Hall of Fame's permanent art exhibition; creates serigraph of "The 3 Tenors", Placido Domingo, Jose Carreras, Luciano Pavarotti.
1997 -- Inauguration of the LeRoy Neiman Center for Print Studies at Columbia University, New York; introduction of LeRoy Neiman Selection Cigar; narrates and appears in film documentary on Cuba and cigars, Rhythm and Smoke; creates poster commemorating 50th anniversary of Jackie Robinson's breaking of racial barrier in Major League Baseball; creates first official Kentucky Derby poster; travels to South Africa to present commissioned portrait of President Nelson Mandela; book LeRoy Neiman on Safari is published.
1998 -- Inaugurates LeRoy Neiman Center for Study of American Culture and Society, UCLA, Los Angeles; unveils baccarat painting for Desert Inn, Las Vegas; exhibits and participates in seminar on Frank Sinatra at Hofstra University; paints and creates serigraph of Joe DiMaggio; creates label for Duval-Leroy champagne; creates official poster for Breeders' Cup, Louisville; cover art for Good Will Games New York official program, and for article in The Nation; honored at Ox-Bow Gala at the Art Institute of Chicago, and by Sportscasters.
1999 -- Creates art for Givenchy perfumes; presents portrait of Mark McGwire and creates serigraph edition commemorating record home run hitter. Paints John Elway and creates serigraph celebrating retirement from football; releases serigraph of Mickey Mantle; participates in Olympic Games seminar on Queen Elizabeth II ocean liner crossing; gambling prints installed in Salle Privée at Paris Casino in Las Vegas; creates poster for Taxicab Chronicles Off-Broadway play; visits Havana to sketch Cuban rhythms. Sketches Army-Navy game in Philadelphia for West Point commission.
2000 -- Creates boxing painting for use as poster for Heavyweight Explosion cable TV program; book The Prints of LeRoy Neiman 1991-2000 is published; releases serigraphs of Mike Piazza and Cal Ripken, Jr.; the first LeRoy Neiman Art Center for Youth is opened in San Francisco; commissioned to create artwork for 125th Preakness Stakes and 2000 PGA Championship Tournament at Valhalla Golf Course.
2001 -- Salutes Muhammad Ali as "Athlete of the Century" with oversized portrait and limited edition serigraphs. Commissioned to paint Mardi Gras official poster for 2002; commissioned to paint Phoenix Suns star Charles Barkley on retirement of uniform number; commissioned to paint UCLA basketball coach John Wooden; holds retrospective drawing exhibition at the Fairfield Public Gallery, Sturgeon Bay, Wisconsin; creates poster for 2001 All-Star Jockey Championship; attends 25th year reunion of ABC-TV coverage of 1976 Munich Olympics. Commissioned by New York City Fire Department to commemorate September 11 terrorist attack for benefit of NYFD Widows and Orphans Fund; creates image of NYFD fireman's helmet and for the first time allows an image to be used and sold on t-shirts; also donates original painting to auction for Widows and Orphans Fund. Honorary Chairman at the annual Bare Walls event at the School of the Art Institute of Chicago; the second LeRoy Neiman Art Center for Youth is opened in Watsonville, California; the largest serigraph yet by artist, "Circus", having image size of 43 ¾" x 65", is completed after 2 years work.
2002 -- Commissioned to paint Wayne Gretzky, Gold Medal winning coach of the Canadian Olympic Hockey Team; commissioned to create official tournament poster for the first U.S. Open to be held at a public golf course, Bethpage on Long Island, New York; illustrates "Casey at the Bat", published as a trade edition by Ecco Press, with Foreword by New York Yankees manager Joe Torre; creates the Tyson/Lewis poster for the boxing heavyweight championship fight in Memphis; creates the official poster and program cover for the Oscar de la Hoya/Fernando Valenzuela championship boxing match in Las Vegas; honored with a tribute dinner at the Friar's Club in New York City; painting of Earvin "Magic" Johnson and Larry Bird is unveiled during Johnson's induction ceremonies at the Basketball Hall of Fame; Gallagher's Steak House in New York City unveils a permanent collection of Neiman artwork portraying the city's greatest athletes; receives Lifetime Achievement Award for contributions to golf and sport art at the Art of Golf Festival at Pinehurst Resort in North Carolina; inducted into the New Jersey Boxing Hall of Fame.
2003 -- Unveiled commissioned painting of the racehorse Funnycide at Saratoga; opens exhibition "LeRoy Neiman on Safari" at the Wildlife Experience museum in Denver, CO; S.T. Dupont releases special edition LeRoy Neiman Golf pen and lighter set; mounts exhibition "LeRoy Neiman in Cuba" at the Pratt Institute; paints the Breeders Cup at Santa Anita; publishes book LeRoy Neiman: Five Decades with Harry N. Abrams.
2004 -- Commissioned to paint poster design for the 2005 Special Olympics in Nagano; paints portrait of Secretariat for the Secretariat Museum; paints program cover design for the Newport Jazz Festival and participates in a group exhibition at the festival; receives Medal of Honor at Ellis Island from NECO; paints portraits of Oscar De La Hoya and Bernard Hopkins for their fight program and presents the paintings to the fighters; completes a set of seven jazz lithographs at Columbia's Neiman Center for Print Studies; films a cameo appearance for Sylvester Stallone's television show "The Contender"; produces a set of five limited edition prints of Martha Graham for the Martha Graham Dance Company; publishes limited edition artist's book LeRoy Neiman Sketchbook: Liston vs. Clay 1964/Ali vs. Liston 1965 with powerHouse Books and Meridian Printing.
Appendix A: Notable Correspondents from Series 2: Correspondence
This appendix is an alphabetical listing of notable correspondents primarily from Series 2, but may include references to other series. The numbers following the entry indicate the series number, subseries number if appropriate, and date where the material is filed. For example: Abrams, Judith Ann - 2.1: 1983, 1991 indicates that the correspondence for that person is found in Series 2.1 in the 1983 and 1991 folders.
Garvey, Steve and Cyndi - 2.1: 1979, 1981, 1983, 1986, 1989, 3.2. -- Winners -- , 1983, Harry N. Abrams
Gavea Golf Club - 2.1: 1985
Gere-Suson, Gary - 2.1: 1999
Gilbert, Patti - 2.1: 1992
Giorgio Beverly Hills - 2.1: 1985
Gore, Al - 2.1: 1987, 1993, 3.2: -- Big Time Golf -- , 1992
Gottlieb, Paul - 3.2. -- LeRoy Neiman: An American in Paris -- , 1994
Graham, Martha - 2.1: 1989
Graime, Arlene (US Olympic Committee) - 2.1: 1996
Grasso, Richard - 2.1: 1996
Gray, Joel - 2.1: 2003
Green Hills Farm - 2.1: 1987
Green, Tammie - 2.1: 1993
Greentree Stud, Inc. - 2.1: undated
Greenwich Workshop Gallery - 2.1: 1983
Gregory, Jack - 2.2: Jack Gregory 1993-98
Grenon, Robert - 2.2: Franklin Bowles Galleries
Guest, C. Z. - 2.1: 2003
Gwynne Gallery - 2.1: 1975, 1978
Hackett, Buddy and Sherry - 2.1: 1985, 1989, 1996, 1998
Halvorsen, Robert - 2.1: 1994
Hammer, Armand - 3.2. -- Winners -- , 1983, Harry N. Abrams, 1.2: Knoedler & Hammer Correspondence
Hammer, Michael - 3.2. -- LeRoy Neiman: An American in Paris -- , 1994, 3.2. -- Casey at the Bat -- , 2000, 1.2: Knoedler & Hammer Correspondence, see also Hammer, Armand Hammer, Victor - see Hammer, Armand
Hanson Art Galleries - 2.2: Hanson Art Galleries 1983-1991, 3.1: Hanson Art Galleries Solo Exhibition, New Orleans 1997, see also exhibitions: Hanson Art Galleries in index for more file references
Harden, Richard - 2.1: 1978, 3.1: Peace Treaty, 1980
Harriman, Ambassador Pamela - 3.2. -- LeRoy Neiman: An American in Paris -- , 1994
Hartman, David - 2.1: 1981
Harvey, Paul - 2.1: 1987
Haskell, Nikki - 2.1: 1997, 2001, 2002
Harris, Earl - 2.1: 1987
Harris, Franco - 2.1: 1990
Hatton, Pat - 2.1: 1993
Hawkins, Tommy - 3.1: Dodgers Centennial 1990
Healy, Katherine - 2.1: 1986
Hedgecock, Mayor Roger - 3.2. -- Winners -- , 1983, Harry N. Abrams
Hefner, Christie - 2.2: Playboy Enterprises 1980s, 3.1: Playboy's LeRoy Neiman Selection Cigars by Don Diego 1997
Hefner, Hugh - 2.1: 1983, 2.2: Playboy Enterprises, 3.2. -- Monte Carlo Chase -- , 1988, Van Der Marck Editions, Ltd.
Safir, Police Commissioner Howard - 3.1: New York City Marathon 1984-2001
Saltman, Sheldon - 2.1: 1976
San Francisco 49ers - 2.1: 1995, 2.2: DeBartolo Corporation and Associated Institutions 1989-1991
Santaniello, Carmine - 2.3
Sassi, Etienne - 3.2. -- LeRoy Neiman: An American in Paris -- , 1994
Scaffidi, Marie - 2.1: 1980s Undated
Scarpa, William and Cathy - 2.2: William and Cathy Scarpa 1991-99
Schmidt, Mike - 2.1: 1980
Schulberg, Budd - 2.1: 1997, 1999, 2000, 2004
Schuman, Rhoda - 2.1: 1992
Schumsky, Felicie - see Felicie, Inc.
Schuster, Gary and family - 2.1: 2000
Scully, Vin - 2.1: 1990, 2000
Schwartz, Louis O. - 1.1: Boxing Writers Association Marvin Kohn "Good Guy Award," 1996
Schwartz, Richard - 2.1: 2000
Schwarzenegger, Arnold - 2.1: 1990
Segal, Erich - 2.1: 1973
Seidman, Jay - 2.1: 2001
Seitz, Nick - 3.2. -- Big Time Golf -- , 1992
Serline, Ollie - 1.1: Family (Neiman Studio Archive only), 2.1: 1970s
Sharp Electronics Corporation - 2.1: 1988
Sherman, Allie - 2.1: 2002
Shula, Coach Donald - 2.1: 1991
Siering, David - 2.1: 1987
Sigmond, Aaron - 2.1: 1994, 1995, 1997
Silverstein, Shel - 2.2: Shel Silverstein
Sinatra, Barbara - 2.2: Sinatra family
Sinatra, Frank - 2.2: Sinatra family, 3.2. -- Monte Carlo Chase -- , 1988, Van Der Marck Editions, Ltd.
Sinatra, Nancy - 2.2: Sinatra family
Skelton, Red - 2.1: 1985
Snyder, Jimmy "the Greek" - 2.1: 1982
Solomone, Mickey - 2.1: 1989
Sony - 2.1: 1978
Sorenson, Jackie - 2.1: 1981
Spectrum, Philadephia - 2.1: 1991
Spectrum Fine Art - 2.1: 1978, 1983
Spitz, Mark - 2.1: 1986
Stack, Edward - 2.1: 1996
Staebler, Tom - 2.2: Playboy Enterprises
Stanley, Melvin - 2.1: 1993
Steffens, John L. - 2.1: 1996
Stein, Bill - 2.1: 1982
Steinbrenner, George - 2.1: 2004
Sterling, Donald - 2.1: 1997, 1998
Sugar, Bert - 2.1: 1977
Swoboda, Ron - 2.1: 2002
Symphony for United Nations - 2.1: 1991
TV Guide -- Magazine - 2.1: 1975, 1990, 1993
Talese, Gay - 2.1: 1992
Tate, Evelyn - 2.1: 1976, 1987
Tele Planning International, Tokyo - 2.2: Tele Planning International, Tokyo 1993-98
Tenenbaum, Harold and Judy - 2.1: 1984, 1986, 1988, 2.2: Harold and Judy Tenenbaum
Tiefel, William R. - 3.2. -- Monte Carlo Chase -- , 1988, Van Der Marck Editions, Ltd.
Tiger Tops Pvt. Ltd. - 2.1: 1982
Tigrett, John and Pat Kerr - 2.1: 1993, 1999, 3.1: Blues Ball 1997 -2001
Torrenzano, Richard - 3.1: Lady Liberty, 1985
Torykian, Richard - 2.1: 1997
Touvell, Audra - 2.1: 2002
Trenchard, Peter - 2.1: 2001
Trovato, Liz - 2.1: 1994
Trump, Donald - 2.2: Trump 1987-96, see also Trump in Index
Twentieth Century Fox Film Corportation - 2.1: 1976
United States Department of State - 2.1: 1984
United States Olympic Committee - 2.1: 1985
Universal Pictures - 2.1: 1991
University of Oklahoma - 2.1: 1982
Upstairs Gallery - 2.2: The Upstairs Gallery 1980-89
Valentine, Bobby and Mary - 2.1: 2002
Vorhaus, Louis - 2.1: 1992
war buddy (unnamed) - 2.1: 1997
Ward, Katherine Lecube - 2.1: 1984, 3.2. -- Monte Carlo Chase -- , 1988, Van Der Marck Editions, Ltd.
Warner Brothers Television - 2.1: 1990
Waterhouse, Alma Jones - 2.2: Alma Jones Waterhouse 1977-80
Webster, Jack - 2.1: 1979, 1983, 1990, 1992, 1994, 1995
Wein, George - 2.1: 1991, 1993, 1995, 2000
Weiner, Claire - 2.1: 1970s, 1985, 1987
Weisman, Maria - 2.1: 2002
Welch, Herb and Lisa - 2.1: 1989, 1992
Welzer, Irv - 2.1: 1977
Wenzel, Lee - 2.1: 1985
Whitaker, Jack - 2.1: 1996
The White House - see Harden, Richard or Clough, Susan, or search by name of President
White, Willye - 2.1: 1989
Williams, Ted - 3.1: Williams at Bat, 1980-91
Wilson, Senator Pete - 3.2. -- Winners -- , 1983, Harry N. Abrams
Winer, Jessica - 2.3
Wirin, R. Michael - 2.1: 1998
Wolf, Warner and Sue - 2.1: 2003
Wood, Jan - 2.1: 1997, 1998
Wrather Corporation (the Lone Ranger), Jack and Bonita G. Wrather - 2.1: 1977, 1988
Yarger, Timothy - 2.2: Franklin Bowles
Yellin, Lou - 2.1: 1991, 1992, 1998
Youngman, Henry - 2.1: 1992
Zabrin, Michael - 2.1: 1989, 1991
Zelaya, Jose - 2.1: 1972, 1976, 1977
Zeran, Ken - 2.1: 1990, 1991
Zimmer, Don (Coach, New York Yankees) and Soot - 2.1: 1997
Appendix B: History of LeRoy Neiman's Representation: Felicie Schumsky, Hammer Galleries, and Knoedler & Co.
Hammer Galleries, New York, had its first show of LeRoy Neiman works in 1963 and has represented him ever since.
Armand Hammer was the proprietor of Hammer Galleries, which he founded in 1929 upon returning from the Soviet Union with a load of Czarist art. His brother Victor was in charge of running the gallery.
Armand became the chairman of the Occidental Petroleum Corporation in 1957.
Maury Leibowitz became a partner with the Hammers at the gallery around the same time they began representing Mr. Neiman.
Hammer and O.P.C. bought the respected M.K. Knoedler & Co. gallery in New York in 1971 with Leibowitz as a partner. Knoedler merged with Modarco, a Swiss investment firm, during the 1970s after its purchase by O.P.C.
Knoedler-Modarco now has three divisions: M. Knoedler & Co. (founded in 1846), Knoedler Publishing (created for the sole business of publishing and distributing the prints and posters of LeRoy Neiman), and Hammer Galleries.
Felicie Schumsky was LeRoy Neiman's publisher and distributor before Knoedler. Felicie, Inc. is named alone in advertising until 1973, when ads appear naming FKH Editions as publisher (presumably 'Felicie Knoedler Hammer') and Hammer Galleries as gallery/distributor. This continues until 1975, when ads begin naming Knoedler as publisher and Hammer as gallery.
Hammer Graphics Gallery, a part of Hammer Galleries, was started in 1979 for the sole purpose of distributing and exhibiting the graphic work of LeRoy Neiman.
Victor Hammer died in July 1985, and Armand Hammer died in 1990 at age 92 (less than a year after losing his wife Frances), leaving his son Michael Hammer as the chairman and president of The Armand Hammer Foundation. Maury Leibowitz died in 1992.
Appendix C: A Listing of Major Public Collections of LeRoy Neiman WorksAnchorage Historical and Fine Arts Museum, Anchorage, Alaska
Art Institute of Chicago, Chicago, Illinois
Baltimore Museum of Fine Art, Baltimore, Maryland
Baseball Hall of Fame, Cooperstown, New York
Brooks Memorial Art Gallery, Memphis, Tennessee
Colorado Springs Fine Arts Center, Colorado Springs, Colorado
Delaware Art Museum, Wilmington, Delaware
Duke University Museum of Art, Durham, North Carolina
Eiteljorg Museum of American Indian and Western Art, Indianapolis, Indiana
Football Hall of Fame, Canton, Ohio
Grunwald Center, University of California, Los Angeles, Los Angeles, California
Armand Hammer Collection, Los Angeles, California
Harding Museum, Chicago, Illinois
Hayward Museum, Hayward, California
Hermitage Museum, Leningrad, USSR
Illinois State Museum, Springfield, Illinois
Indianapolis Museum of Art, Indianapolis, Indiana
Joslyn Museum, Omaha, Nebraska
Memorial Art Gallery, Rochester, New York
Meridian Museum of Art, Meridian, Mississippi
Michigan State University, Kesage Art Center Gallery, East Lansing, Michigan
Minneapolis Institute of Arts, Minneapolis, Minnesota
Minnesota Historical Society
Minnesota Museum of Art, St. Paul, Minnesota
Mobile Art Gallery and Museum, Mobile, Alabama
Museo de Bellas Artes, Caracas, Venezuela
National Museum of Sport in Art, New York, New York
Niagara University, Niagara, New York
Portland Museum of Art, Portland, Maine
Springfield Museum of Art, Springfield, Massachusetts
Tennis Hall of Fame, Newport, Rhode Island
Tucson Museum of Art, Tucson, Arizona
Tweed Museum of Art, University of Minnesota, Duluth, Minnesota
University Art Gallery, Binghamton, New York
University of California at Los Angeles, Los Angeles, California
University of Illinois, Champaign, Illinois
University of Oklahoma, Norman, Oklahoma
University of Oregon, Eugene, Oregon
University of South Florida, Tampa, Florida
University of Texas, Austin, Texas
Utah Museum of Fine Arts, University of Utah, Salt Lake City, Utah
Vanderbilt University, Nashville, Tennessee
Wichita State University, Wichita, Kansas
Whitney Museum. New York, New York
Wodham College, Oxford, England
Yuma Fine Arts Association, Yuma, Arizona
Appendix D: A Listing of LeRoy Neiman Serigraph Releases
This list corresponds to newspaper and magazine ads in files 3.3: Felicie Inc. - Advertising and 3.3: Knoedler & Co. - Advertising. This is not a complete inventory.
DateSerigraphUnknown -- Bar '21' (offset lithograph)
Unknown -- Delacroix Tiger
Unknown -- Elephant Family
Unknown -- Gorilla Family
Unknown -- Kenya Leopard
Unknown -- Lion Pride (offset lithograph)
Unknown -- Lion Couple
Unknown -- Polar Bears
Unknown -- Serengeti Leopard
Unknown -- Zebra Family
Unknown -- The Plaza Square
Unknown -- Stock Market (offset lithograph)
Unknown -- Neiman Montreal '76 (offset lithograph)
Unknown -- Winter Olympic Skier, Lake Placid 1980
Unknown -- P.J. Clark's
Unknown -- Olympic Slalom
Unknown -- Dublin Bar
Unknown -- Le Grand Cuisine
Unknown -- Little Hitter
Unknown -- Little Fielder
1975 -- Le Grand Escalier de l'Opera, 1969
1975 -- Toots Shor Bar
1975 -- Club House Turn
1975 -- Black Panther
1976 -- Sun Serve
1976 -- Satchmo
1976 -- High Seas Sailing
1976 -- Vegas Blackjack
1976 -- Golf Landscape
1976 -- Elephant Stampede
1976 -- Nadia
1976 -- America's Cup
1977 -- Marlin!
1977 -- High Altitude Skiing
1977 -- Basketball Superstars
1977 -- Café aux Deux Magots
1977 -- The Mallet Men
1977 -- Bengal Tiger
1977 -- Giraffe Family
1977 -- Show Jumper
1977 -- Outrigger Canoe Race
1978 -- Metropolitan Opera
1978 -- Moby Dick Portfolio
1978 -- Bucking Bronc
1978 -- The Wildcats
1979 -- Kentucky Derby
1979 -- Chateau Hunt
1979 -- Stretch Stampede
1979 -- Aegean Sailing
1979 -- American Bald Eagle
1980 -- Lake Placid, Eighty, 1980
1981 -- Stenmark
1981 -- The Race of the Year
1981 -- Tour de France
1981 -- Before the Race
1984 -- Rush Street Bar
1984 -- Regents Park
1984 -- Elephant Nocturne
1985 -- Six Golfers, 1984
1985 -- Lady Skier
1985 -- Harry's Wall Street Bar
1986 -- Nob Hill
1986 -- Buena Vista Bar
1986 -- America's Cup, Australia
1987 -- Great Dane
1987 -- Giants - Broncos Classic
1987 -- 24 Hours of Le Mans
1987 -- Bistro Garden
1987 -- Left Bank Café
1988 -- Diamond Head, Hawaii
1988 -- Napoleon at Waterloo
1988 -- Piazza del Popolo - Rome
1988 -- Monte Carlo Suite
1988 -- Harbor at Monaco
1988 -- Salle Prive - Monte Carlo
1988 -- Borzoi
1988 -- In the Pocket
1988 -- Magic (Johnson)
1988 -- Clubhouse at Old St. Andrew's
1989 -- Polo Lounge
1989 -- Superplay
1989 -- President's Birthday Party
1989 -- Chicago Key Club Bar
1990 -- Secretariat II
1990 -- Chicago Options
1990 -- April at Augusta
1990 -- Gaming Table
1990 -- The '21' Club
1991 -- Homage to Ali
1991 -- Ted Williams
1991 -- Café Rive Gauche
1991 -- Cougar
1991 -- The Bordello
1992 -- Hunt Rendezvous
1992 -- Kilimanjaro Bulls
1992 -- Paddock at Chantilly
1993 -- The Maulers
1993 -- Fouquets
Appendix F: A Listing of "Man at His Leisure" Features in Playboy MagazineDateSubject/Pages1958 April -- Painter of the Urban Scene, p. 49-51
1958 December -- The Pump Room, Ambassadors East, Chicago, p. 60-61
1959 January -- Le Café Chambord, p. 52-53
1959 June -- Romanoff's, p. 62-63
1959 December -- Moore County Hounds (Southern Pines), p. 68-72
1960 February -- Hialeah Race Course, p. 52-54
1960 June -- The Colony, p. 74-75
1960 August -- Forest Hills, p. 76-77
1961 January -- Squaw Valley, p. 84-87
1961 March -- Ernie's, p. 94-95
1961 June -- The S.S. United States, p. 60-61
1961 July -- Longchamp - Auteuil, p. 82-85
1961 September -- La Plaza de Toros, p. 109-111
1961 December -- Maxim's, p. 130-131
1962 January -- The French Riviera, p. 103-105
1962 March -- The Grand National Steeplechase, p. 94-95
1962 May -- The Cambridge-Oxford Boat Race, p. 96-97
1962 August -- Las Vegas, p. 86-89
1963 May -- Monte Carlo, p. 122-125
1963 July -- Air France, p. 102-103
1963 September -- Sardi's, World Billiard Championship, p. 150-151
1963 December -- Madison Square Garden, p. 169-171
1964 April -- Epsom Derby, p. 120-121
1964 August -- St. Tropez, p. 62-65
1964 October -- Chantilly, p. 144-147
1964 December -- The Lido, p. 159-193
1965 March -- The New York Playboy Club, p.116-117
1965 August -- The Girallia Yacht Race, p. 110-111
1965 December -- The Plaza, Manhattan, p. ?
1966 July -- The Royal Ascot, p. 110-113
1966 September -- The America's Cup, p. 168-169
1967 January -- Discotheques, p. 180-181
1967 June -- Surfing, p. 112-115
1967 November -- National Horse Show, p. 143-145
1967 Winter -- VIP Magazine, Assignment London
1968 January -- Rosati's, Via Venito, p.?
1969 January -- The Bolshoi Ballet, p. 199-201
1969 June -- Le Mans, p. 124-125
1969 August -- Yugoslavia, p. 126-129
1970 January -- Morocco, p. 203-207
1970 November -- Can-Am Race, p. 179-181
1971 January -- Jamaica, p. 191-193
1972 January -- Sotheby's Auction Room, p. 171-173
1973 January -- Super Bowl, p. 187-189
1973 July -- Summer of '72 - The Hamptons, p. 152-157
Playboy Magazine's "Neiman Sketchbook" Features
DateSubject/Pages1979 December -- Teofilo Stevenson, p. 221
1980 January -- Senator Ted Kennedy, p. 137
1980 February -- Roller Skating, p. 166 -167
1980 March -- Charles Mingus, p. 179
Appendix E: Exhibitions
Below is a chronological list of Neiman exhibitions. See the index for an alphabetical list of exhibitions (listed by name of venue under the item "exhibitions") and reference to locations of pertinent archive files.
DateSolo ExhibitionsOct. 9-Nov. 6, 1959 -- F. Oehlschlaeger Gallery, Chicago
March 3-31, 1961 -- F. Oehlschlaeger Gallery, Chicago
Feb. 9-March 9, 1962 -- F. Oehlschlaeger Gallery, Chicago
March 1962 -- O'Hana Gallery, London
Nov. 27-Dec. 11, 1962 -- Galerie O. Bosc, Paris
Oct. 8-19, 1963 -- Hammer Galleries, New York
January-February, 1965 -- "Vie de France," Astor Tower French Center, Chicago
Nov. 23-Dec. 4, 1965 -- Hammer Galleries, New York
March 5-25, 1966 -- Gallery Richelle, St. Louis
1976 -- "LeRoy Neiman Retrospective 1949-75," Minnesota Museum of Art, St. Paul
Nov. 1967 -- Frank Sinatra Film Drawings Exhibition, Gallery of Modern Art, New York
Sept. 26-Oct. 7, 1967 -- Hammer Galleries, New York
Dec. 26-31, 1968 -- New York Jets Sketches, Hammer Galleries, New York
May 1-June 10, 1969 -- "LeRoy Neiman: Paintings and Drawings," Choate School, Wallingford, CT
May 1969 -- "LeRoy Neiman: Impressions of Atlanta," Heath Gallery, Atlanta, GA
Jan. 20-31, 1970 -- Hammer Galleries, New York
Oct. 19-Nov. 2, 1971 -- "Recent Graphics and Drawings", The Far Gallery, New York
April-May, 1972 -- Museo de Bellas Artes, Caracas
Dec. 1972 -- Circle Gallery, Chicago
Oct. 31-Nov. 11, 1972 -- Hammer Galleries, New York
Nov. 22, 1972-Jan. 7, 1973 -- "Sketches of the XXth Olympiad," Solo Exhibition, Indianapolis Museum of Art
Jan.-Feb. 1973 -- Circle Gallery, Los Angeles
1973 -- Circle Gallery, Dallas
March 24, 1973 -- The Hang -Up Gallery Open House
April-May 1973 -- Circle Gallery, New York
June 2-23, 1973 -- Brentano's Gallery, New York
Jan. 24-Feb. 5, 1974 -- "Ali - Frazier," Circle Gallery, New York
Feb. 3-March 17, 1974 -- Springfield Museum of Art
1974 -- Windsor Gallery, Los Angeles
April 30-May 11, 1974 -- Hammer Galleries, New York
June 22-July 6, 1974 -- Gallery Hawaii, International Market Place, Honolulu
Sept. 1974 -- Abercrombie & Fitch
1974 -- Tobu Gallery, Tokyo
Nov. 1974 -- Gilbert Gallery, San Francisco
Nov. 1974 -- Windsor Gallery, New York
Feb. 1975 -- Carol Condit Galleries, White Plains, NY
March 1975 -- Art Gallery -Studio 53 Ltd., New York
April 1975 -- "The Wide World of LeRoy Neiman," Windsor Gallery, Los Angeles
June-July 1975 -- Moby Dick Traveling Exhibition, Peter Foulger Museum, Nantucket
Aug. 1975 -- Moby Dick Traveling Exhibition, Sag Harbor, Long Island
Sept. 1975 -- Moby Dick Traveling Exhibition, Pittsfield, MA
July 1975 -- Waller's Gallery, Tampa, FL
Sept. 1975 -- Hess's Gallery, Allentown, PA
Nov. 1975 -- Meredith Long & Co., Houston
Dec. 4-26, 1975 -- Thomas Ward Galleries, St. Paul
Dec. 4, 1975-Jan. 24, 1976 -- Minnesota Museum of Art, St. Paul
Dec. 10, 1975-Jan. 10, 1976 -- Hammer Galleries, New York
Jan. 21-March 10, 1976 -- Indianapolis Museum of Art, Downtown Gallery at American Fletcher National Bank
Feb.-May 1976 -- Emerald Art Galleries, Coronado, CA
March 14-28, 1976 -- Jewish Community Center, Bridgeport, CT
June 1976 -- M. Knoedler & Co., London
Aug. 1976 -- Frank Oehlschlaeger Gallery, Chicago
Aug. 28-Sept. 27, 1976 -- Gallery Hawaii, Hyatt Recency
Sept. 12-Oct. 6, 1976 -- Niagara Art Center, Niagara Falls
1976 -- Art Gallery-Studio 53 Ltd., New York
Oct. 1976 -- Heit Galleries, Phoenix, AZ
Nov. 16-Dec. 4, 1976 -- "The Olympic Ring," Hammer Galleries, New York
Dec. 12-19, 1976 -- Fahlnaes Konstsalong, Sweden
March 1977 -- Gallery 100, Mishawaka, IN
March 1977 -- Upstairs Gallery, Beverly Hills
March 1977 -- Galerie Marc, San Francisco
Aug. 31-Sept. 11, 1977 -- Galerie Renee & Victor, Stockholm, Sweden
Sept. 1977 -- Bowles/Hopkins Gallery, San Francisco
Sept. 2-23, 1977 -- Casa Grafica, Helsinki, Finland
Oct.-Nov. 1977 -- St. Lawrence National Bank, Ogdensburg NY
Arledge, Roone - 2.2: ABC Correspondence, 3.1: Olympics Munich 1972, 3.1: "Recent Graphics and Drawings," The Far Gallery Solo Exhibition 1971, 3.1: Olympics, Montreal 1976 Roone Arledge, 1972 drawing - 4.1: 2003
Arliss - 4.1: 1996
Armory Art Fair, Washington DC - 4.1: 1977
Armstrong, Louis - see jazz
Army, U.S., service in - 1.1: Military Service
Army vs. Navy 1946, 2000 - 4.1: 2001
Arnstein, Vera Daphne - 4.1: 1990
Arrow shirts - see promotions
Art Aid - 4.1: 1986
L'art et l'automobile - 3.1: LeRoy Neiman Corvette 1984, 4.1: 1988, 2002, see also exhibitions
Art Brokerage Inc. - see Rose, Donna
Art Collection House Co., Ltd., Japan - 2.1: 1994, 1995
Art Directors Club of Oklahoma City - 4.1: 1967, VII
Art Expo - 4.1: Undated
Art for Education - 4.1: 1998
The Art of Gaming Through the Ages, by Arthur Flowers and Anthony Curtis, foreword by LeRoy Neiman - 3.1: The Art of Gaming Through the Ages, Huntington Press, 2000
Art Institute of Boston - 1.1: Honorary Degrees, 2.1: 1975, 4.1: 1975
Art Institute of Chicago - 1.1: Education and Teaching, 2.1: 1987, 1989, 1996, 3.1: "Drawing New Conclusions," Art Institute of Chicago group exhibition 1992, 4.1: 1978 ov, 2001, 2002, see also exhibitions
Auxiliary Board - 2.1: 1990
Barewalls, 2001 - 3.1: Art Institute of Chicago Reunion 2001
Art and Lifestyle, 1974 - see LeRoy Neiman: Art and LifeStyle, 1974, 3.2.1
ArtExpo New York - 2.1: 1989, 4.1: 1987, 1998, 2001
Art-o-gram: News of the art world for art dealers only - 4.1: 1977
Arthur Andersen & Co. - 4.1: 1981
Les Arts de France - 2.1: 1988
Arum, Bob and Lovee - 2.1: 1996, 1998, 4.1: 1996
Ascent, 1961 - 4.1: 1961
Ashford, Evelyn - see running
Aspen, CO - 4.1: 1993, 1994
Association for the Help of Retarded Children (AHRC) - 3.1: Thurman Munson and Thurman Munson Awards Dinner 1977-present
Fred Astaire - 3.1: Good Tidings Foundation 1998 -, 4.1: 1985
Athens International Festival - 4.1: 1993
Atlanta, GA - 3.1: Economic Opportunity Atlanta 1968
Atlanta International Film Festival - 4.1: 1974 and ov, V: 1974
Atlanta Magazine - 4.1: 1969, 1975, 1996
Atlanta's Poor People Art School - 4.1: 1969
Atlantic City, New Jersey - see also casinos, promotions, 3.1: Tour de Trump 1989
attorney - see Shaw, Robert
auction - 4.1: 1978, 1997, 1998, 1999
Augusta National Golf Club, The 16th at Augusta, 1992 - 4.1: 1994
auto racing -- - 4.1: 1982, 1983, 1989, 1999
Andretti, Mario - 4.1: 1975, 1992
Andretti, Michael - 4.1: 1992
Brayton, Scott - 4.1: 1996
Beni Hana Grand Prix - 2.1: 1978
Caesar's Palace Grand Prix, 1981 - 3.1: Caesar's Palace Grand Prix 1981-83
Caesar's Palace Grand Prix, 1982 - 3.1: Caesar's Palace Grand Prix 1981-83
Caesar's Palace Grand Prix, 1983 - 3.1: Caesar's Palace Grand Prix 1981-83
Can-Am Race - 4.2: -- Playboy -- 1970, see Appendix E
Dallas Grand Prix, 1984 - 2.2: Neiman-Marcus 1983-88, 3.1: Dallas Grand Prix 1984
Denver Grand Prix, 1990 - 3.1: Denver Grand Prix 1990-1991
Denver Grand Prix, 1991 - 3.1: Denver Grand Prix 1990-1991
boats - see sailing, or Showboats International; The Cambridge-Oxford Boat Race - 4.2: -- Playboy -- 1962, see Appendix E
Bochette, Liston - 2.1: 1981, 1984, 1985
bodybuilding -- - 4.1: 1977, 1982, 1990
Everson, Cory - 4.1: 1990
Schwarzenegger, Arnold - see Schwarzenegger, Arnold
Boek, Louis - 1.1: Military Service
Boggs, Bill - 4.1: 2002 ov., 2004
Bonaventure - see St. Bonaventure University
Bond, Julian - 4.1: 1969
Bonds, Barry - Barry Bonds, 2003 pastel - 3.1: Good Tidings Foundation, 1998-present book jacket illustrations - 3.1: folder 1, 3.1: Charlotte Chandler 1978-84, 4.1: 1973, 1982, 1988-89
Book of the Month Club - 3.2.5, 3.2. -- Winners -- , 1983, Harry N. Abrams , Text Drafts
by Mr. Neiman - see Publications files in Series 3.2
by others, containing Mr. Neiman's works - see Licensing Art and Design by Cynthia Revelli, Skip Singleton tennis books, see also book jacket illustrations
bookstores - see Publications files in series 3.2 for information on book signings at bookstores
Borg, Bjorn - see tennis
Borstal Boy - 2.1: 1984, 3.1: Borstal Boy 1970
Bosley, Thad - see Skoal Pinch Hitter
Bourgeois, Louise - 3.1: "Cig Art" Benefit Exhibitions 1996-2000
Bourne, Bob - 4.1: 1983
Bowe, Riddick - see boxing
Bowlers Journal - see bowling
Bowles, Franklin - see Bowles Galleries
Bowles Galleries - 1.2: Bowles Galleries, see exhibitions, see also Timothy Yarger Fine Art
bowling -- - 2.1: 1976
Anthony, Earl - 3.1: Million Dollar Strike, 1982
Carter, Don - 3.1: Million Dollar Strike, 1982
Esposito, Frank - 2.1: 1986, 1996, 3.1: Million Dollar Strike, 1982
Million Dollar Strike, 1982 - 3.1: Million Dollar Strike, 1982
Varipapa, Andy - 3.1: Million Dollar Strike, 1982
boxing -- - 3.1: Ali vs. Frazier I, 1971, 3.1: Ali vs. Frazier III "The Thrilla in Manila," 1975, 3.1: Ali vs. Spinks 1978, 3.1: Sportsman's Ball 1978, 3.1: Ali vs. Holmes 1980, 3.1: Duran vs. Leonard I, II, III 1980-89, 3.1: Hearns vs. Leonard 1981, 3.1: Tribute to Joe Louis (Holmes vs. Spinks) 1981, 3.1: Holmes vs. Cooney 1982, 3.1: Hagler vs. Hearns 1985, 3.1: Mike Tyson Portraits 1986-1990s, 3.1: Tyson vs. Spinks 1988, 3.1: McGirt vs. Whitaker 1993, 3.1: Tyson vs. Holyfield 1991-1996, 3.1: Holyfield -Lewis and Ali vs. Frazier I, 1971, 1999, 3.1: Lewis vs. Tyson 2002, 3.1: De La Hoya vs. Vargas 2002, 4.1: 1964, 1965, 1966, 1967, 1970, 1971, 1972, 1976, 1977, 1978, 1979, 1981, 1982, 1983, 1984, 1985, 1987, 1988, 1989, undated 1990s, 1990, 1991, 1993, 1994, 1995, 1996, 1997, 1998, 1999, 2000, 2001, 2002
Ali, Muhammad - see Ali vs. Frazier, 3.1: Lewis vs. Tyson 2002, .2.1: 2001, 3.1: GOAT (Greatest of All Time - A Tribute to Muhammad Ali) Book by Taschen, 2004, 3.2.1, 3.2.16, 4.1: 1964, 1965, 1966, 1967, 1970, 1971, 1974, 1976, 1977, 1978, 1980, 1985 1991, 1994, 1995, 1997, 1998, 1999, 2000, 2001, 4.2: Playboy Ephemera 1960s, 4.2: The Ring Magazine as artist - 2.1: 1979, 4.1: 1966, 1967, 1970 ov, 1979
Muhammad Ali - Athlete of the Century, 2000 - 3.1: Muhammad Ali - Athlete of the Century, 2000-2002
Muhammad Ali - The Greatest Collector's Edition Magazine, 2002 - 4.1: 2002
Ali vs. Foreman, Zaire poster, 1974 - 4.1: 1974, 2000, 2002
Ali vs. Frazier
Ali vs. Frazier I, 1971 - 3.1: Ali vs. Frazier I, 1971
Ali vs. Frazier I, 1971, 1999 - 3.1: Holyfield -Lewis and Ali vs. Frazier I, 1999, 4.1: 2000
Ali vs. Frazier II etchings, 1974 - 3.1: Ali vs. Frazier I, 1971, 3.1: Circle Gallery 1972, 3.1: Ali vs. Frazier II, 1974, 3.1: Ali vs. Frazier III "The Thrilla in Manila," 1975, 4.1: 1990
Fight of the Century poster, 1971 - 3.1: Ali vs. Frazier I, 1971
Thrilla in Manila poster, 1975 - 3.1: Ali vs. Frazier III "The Thrilla in Manila," 1975, 4.1: 2000
Ali vs. Holmes, 1980 - 3.1: Ali -Holmes 1980, 4.1: 2000
Ali vs. Spinks, 1978 - 3.1: Ali vs. Spinks 1978, 4.1: 2000
Bobrick - 4.1: 1977
Bowe, Riddick - 4.1: 1993, 1995, 1996, 4.2: The Ring Magazine
Boxers Ball - 4.1: 1997
Boxing Beat Magazine - 4.1: 1988
Boxing Illustrated - 4.1: 1993
Boxing at the Ritz - 4.1: 1993
Boxing Writers Association of America - 1.1: Awards, 4.1: 1967, 1985, 2004
Brenner, Teddy - 2.1: 1978, 1979, 4.1: 1978, 4.2: The Ring Magazine
Camacho, Hector - 4.1: 1986, 1997
Chavez, Julio Cesar - 4.1: 1993, 1996
Julio Cesar Chavez, pastel - 4.1: 1996
Julio Cesar Chavez, 1996 drawing - 4.1: 1996
Clay, Cassius - see Muhammad Ali
Coetzee - 4.1: 1984
Cooney, Gerry - see Holmes vs. Cooney, 2.1: 1989, 2000, 4.1: 1981, 1987, 2001, 4.2: The Ring Magazine
De La Hoya, Oscar - 3.1: The Fight of the Millennium, 1999, 3.1: De La Hoya vs. Vargas 2002, 3.1: De La Hoya vs. Hopkins 2004, 4.1: 1995, 1997
Oscar De La Hoya, 1995 - 4.1: 1997
De La Hoya vs. Mosely poster 2000 - 3.1: De La Hoya vs. Mosley 2000
De La Hoya vs. Whitaker, 1997 - 4.1: 1997
Dundee, Angelo - 3.1: Angelo Dundee Tribute 2002
Duran, Roberto - 3.1: Duran vs. Leonard I, II, III 1980 -1989, 4.1: 1980, 1983, 1984, 1994, 1995, 4.2: The Ring Magazine
Ellis, Jimmy - 4.1: 1973 ov
F.I.S.T. - 2.1: 2000, 4.1: 2000, 2001
film, documentary - see Win a Few, Lose a Few, 1972
Foreman, George - see Ali vs. Foreman, 2.1: 1989, 4.1: undated, 1973, 1974, 1976, 1993, 1995, 1999, 4.2: The Ring Magazine
Foreman Frazier Fight - 4.1: undated
Foreman vs. Holmes, 1999 - 4.1: 1999
Frazier, Joe - see Ali vs. Frazier, 2.1: 1975, 4.1: undated, 1969 ov, 1971, 1972, 1973, 1976, 1981, 1992, 1998, 4.2: The Ring Magazine
Golden Gloves Championships - 4.1: 2000, 2001
Golota, Andrew - 4.1: 1996
Grant, Michael - see Lewis vs. Grant, 4.2: The Ring Magazine, 4.1: 2001
Trump Taj Mahal, Atlantic City - see Trump, Donald
Vegas Blackjack - 4.1: 1984, 1996
catalogue raisonnes - 3.2.5, 3.2.9, 3.2.14
Cavett, Dick - 2.1: 1999
"Celebration 2000" Exhibition - 3.2.14
Celebrity Night at Spago, 1993 - 3.1: Celebrity Night at Spago, 1993
Centaur Galleries, Las Vegas - see exhibitions
Center Art Galleries, Hawaii - 3.1: Center Art Galleries Exhibition, Hawaii 1985, 4.1: 1984, 1987
Central Park Boathouse - see restaurants
cereal box - see Wheaties
Chabot Galleries - 2.1: 1989
Chamberlain, Wilt - see 3.1: Basketball Superstars, 1975 -76, 3.1: Kareem Abdul -Jabbar, 1984, 3.1: Wilt Chamberlain 2000, 4.1: 1981
champagne - 3.1: Duval LeRoy Champagne 1999-2001
Champagne Taittinger - 3.1: 1993
Champagne...Uncorked! by Rosemary Zraly - 3.1: Saks Fifth Avenue 1994-1999, 3.1: Champagne...Uncorked! by Rosemary Zraly 1996
Champions vs. MS - 2.1: 1977
Le Champs- Elysses, 1992 - 4.1: 1996
The Champs-Elysees, la Voie Triomphale, 1994 - 4.1: 1997
Chandler, Charlotte - 3.1: Charlotte Chandler 1978-84, 3.1: March of Dimes' Gourmet Gala 1985
Channel Thirteen, New York - 2.1: 1984, 4.1: 1983
Charismatic - 4.1: 1999
charity - 2.1: Charities (all files), see also AIMS (Committee to Aid Multiple Sclerosis), American Cancer Society, American Diabetes Association, American Heart Association, Association for the Help of Retarded Children (AHRC), Boys & Girls Clubs of America, Boys Town of Italy, Carousel of Hope (Children's Diabetes Foundation), Champions vs. MS, Children's Hearing Institute, Citymeals-on-Wheels, Concern's Charity of Champions, Cystic Fibrosis Foundation, Doodle for Hunger, Good Tidings Foundation, Hope House Ministries, Hospital Relief Fund of the Caribbean, International Heart Foundation, International Sephardic Education Foundation, Jackie Robinson Foundation (under Robinson, Jackie), Jimmy Fund, Juvenile Diabetes Foundation, Leukemia Society of America, Make-a-Wish Foundation, Monmouth Park Charity Ball, Muscular Dystrophy Association, Myasthenia Gravis Foundation, National Multiple Sclerosis Society, North Shore Child and Family Guidance Association, Race to Erase MS, Rock for the Cure, Ronald McDonald House, Special Olympics, United Cerebral Palsy Association, United Way, 4.1: 1981, 1992, 1999; see also animals: rescue
Charlie Cosmetics - see promotions
Chavez, Julio Cesar - see boxing
chef - 3.1: James Beard 1985-87, see also Bennett, Chef John; Clark, Chef Patrick; Kopf, Stefan; Lomonaco, Chef Michael; food; restaurants; Soltner, Chef Andre
Chemical Bank - 2.2: Manufacturers Hanover and Chemical Bank, VII: Box 3
Cher - 4.1: 1981
chess - see Fischer, Bobby
Chicago Board of Trade, 1974-75 - 2.1: 1977, 1989, 4.1: 1977
Chicago Public Library - 4.1: 1955-59
Chicago Serigraphic Workshop - 2.1: 1977
children, artwork by - 2.2: Artwork from Children
children, letters from - 2.2: Mrs. Vladimir's Class 1975-85, 2.2: Hutchinson KS, Elementary Schools, 1976-78, 2.2: Mr. Silver's Class 1978-81, see also various letters in 2.1 Fan Mail files
Children at Heart - 4.1: 1996
Childrens Diabetes Foundation - 3.1: Carousel Ball 1982-present
Children's Hearing Institute - 4.1: 1994
China - 2.1: 1983
Chinaglia, Georgio - see soccer
Choate School - 4.1: 1969
Christie's - 4.1: 1978
Christina Galice Gallery - 2.1: 1990
churches -- - 4.1: 1964, 1965; The Organ at St. Paul the Apostle, 1965 - 4.1: 1965
etchings - 2.1: 1977, 3.1: Malletmen etching Certificate, 1977, 1.2: Bowles Galleries Correspondence 1970s, see also boxing: Ali vs. Frazier II etchings, 1974, and soccer: Soccer, 1989 etching, The Etchings of LeRoy Neiman, 1976 Knoedler booklet - 3.1: The Etchings of LeRoy Neiman, 1976 booklet (ov)
Eve Models, Ltd. - 4.1: 1971, 1974
Everson, Cory - see bodybuilding
Evert, Chris - see tennis
Ewbank, Weeb - 3.1: Gridiron Football News 1971-1973, 4.1: 1978
exhibitions -- - Note: Solo and group exhibitions are listed alphabetically by the venue name
Bowles/Sorokko Galleries, "LeRoy Neiman: Monte Carlo," San Francisco 1988 - 3.2. Monte Carlo Chase, 1988, Van Der Marck Editions, Ltd., Related Exhibitions
Bowles/Sorokko Galleries, Polo Lounge Debut, Beverly Hills, April 1989 - 3.1: Polo Lounge debut at Bowles/Sorokko Galleries, Beverly Hills 1989
Bowles/Sorokko Galleries, San Francisco, May 1990 - 3.1: Bay Area Baseball debut at Bowles/Sorokko, San Francisco 1990
Bowles/Sorokko, Beverly Hills, October 1990 - 4.1: 1990
Bowles/Sorokko Galleries, "The Prints of LeRoy Neiman 1980 -1990," Beverly Hills, 1991 - 3.2. The Prints of LeRoy Neiman, 1980-1990, 1991
Bowles/Sorokko Galleries, "LeRoy Neiman's San Francisco," San Francisco 1991 - 3.1: San Francisco Series 1991-93
Bowles/Sorokko Galleries, "LeRoy Neiman: Downtown," New York 1992 - 4.1: 1992
Bowles/Sorokko Galleries, "Big Time Golf," Beverly Hills, San Francisco, and New York, 1992 - 3.2. -- Big Time Golf -- , 1992, Publicity and Related Exhibitions
Bowles/Sorokko Galleries, City by the Bay Debut, San Francisco, 1993 - 3.1: San Francisco Series, 1991-1993
Bowles/Sorokko Galleries, "An American in Paris," Beverly Hills, San Francisco, and New York, 1994 - 3.2. -- LeRoy Neiman: An American in Paris -- , 1994, Related Exhibitions
Bowles/Sorokko Galleries, San Francisco, 1995 - 4.1: 1995
Bowles/Sorokko/Yarger Galleries, "Portraits of Our Times 1946-1996", Beverly Hills and San Francisco 1996 - 3.1: "Portraits of Our Times 1946-96" Solo Exhibition and Catalog, Bowles/Sorokko/Yarger Galleries, 1996
Brentano's Gallery, New York, 1973 - 4.1: 1973
Brentano's Gallery, New York, 1979 - 2.1: 1979, 4.1: 1979
Brentano's Gallery, New York, 1980 - 4.1: 1980
Butler Institute of American Art, Exhibition at "The Art Spirit" Event, April 1990 - 4.1: 1990
Carol Condit Galleries, White Plains, 1975 - 4.1: 1975
Casa Grafica, Helsinki, Finland, 1977 - 3.1: Casa Grafica Solo Exhibition, Helsinki, Finland, 1977
"Celebration 2000," 2000 - 3.2. -- The Prints of LeRoy Neiman -- , 1991-2000, 2001
Centaur Galleries, Las Vegas, 2000 - 4.1: 2000
Centaur Sculpture Galleries, "The Safari Suite," Las Vegas 1996 - 3.2. -- LeRoy Neiman On Safari -- , 1996, Related Exhibitions
Center Art Galleries, Honolulu, Hawaii, 1985 - 3.1: Center Art Galleries Exhibition, Hawaii, 1985
Halas, George - 3.1: Gridiron Football News 1971-73, George Halas, Jr. Sports Center - 4.1: 1979
Hall, Jim - 4.1: 1997
Hall of Famer, 1996 - 3.1: Saks Fifth Avenue 1994-1999, 4.1: 1998
Halle, David - 3.1: UCLA LeRoy Neiman Center for the Study of American Society and Culture, 1998-present; A Sociological Study of the Artist LeRoy Neiman, and 1000 Neiman Collectors by David Halle and Louis Mirrer - IC: A Sociological Study of the Artist LeRoy Neiman, and 1000 Neiman Collectors by David Halle and Louis Mirrer, 1990
Halmi, Robert - 3.2.12 and 4.1: undated ov
Hammer Galleries - see exhibitions, and Knoedler & Co.
Hammer, Armand - 1.2: Knoedler & Co. and Hammer Galleries, 3.1: New York City Marathon 1984-2001, 3.1: Tretyakov Museum Solo Exhibition, Moscow 1988, 3.1: Tokyo exhibition 1988
Hammer, Michael - 1.2: Knoedler & Co. and Hammer Galleries
Hammer, Victor - 1.2: Knoedler & Co. and Hammer Galleries
Hammond, IN - see Mercantile Bank
Hampton, Kym - 4.1: 2000
The Hamptons, New York - 3.1: Hamptons notes 1972, 4.2: -- Playboy -- 1973, see Appendix E handball - see Jacobs, Jim
Hanson Gallery, New Orleans - see exhibitions, 3.1: Rex Proclamation Mardi Gras Painting 2002, 4.1: 1984, 1986, 1998, 2000, 2001, 2002, 2004
Hanson Gallery, San Diego - 4.1: 1987
Harbor Boat House, 1955 - 4.1: 1950s
Hardy, Joseph A. - 1.1: Collectors
Harlem Streets, 1981 - 3.1: Cities in Schools and Harlem Streets, 1981
Harlequin, lithograph - 3.1: Circle Gallery 1972, 4.1: 1989
Harlequin and a Nude, 1971 - 4.1: 1991
Harlequin with Sword, lithograph - 3.1: Circle Gallery 1972
Harlequin's Entry into Venice, 1971 mural - 3.1: "The Playboy Collection," Dyansen Gallery Traveling Exhibition 1989-90
Haring, Keith - 4.1: 1997
Harmon Galleries - see Foster Harmon Galleries
Harper's -- Magazine - 4.1: 1964, 1968
Harrod's, London - 4.1: 1982
Harry, Deborah - 2.1: 1978
Harry's Wall Street Bar - see bars
Hartack, Bill - 2.1: 1977
Harvard University - 4.2: Playboy Parodies - Harvard and Yale
Japan - 2.1: 1986, 1987, 2.2: CBS Sports Correspondence, 3.1: Hawaii and Japan 1974, 3.1: Japan Trip 1977, 3.1: Tokyo Exhibition 1983, 3.1: Tokyo Exhibition 1988, 3.2. -- Winners -- , 1983, Correspondence, Harry N. Abrams, 4.1: 1984
Armstrong, Louis - 3.1: "Louis Armstrong: A Cultural Legacy" traveling exhibition 1995, 4.1: undated 1990s
Louis Armstrong, 1963 - 4.1: 1965
Louis Armstrong, 1981 - 4.1: 1981
Louis Armstrong, 1976 - 3.1: Newport Jazz Festival 1975 -2004, 3.1: Kool Jazz Festival 1976, 4.1: 1979
London, England - 3.1: O'Hana Gallery Solo Exhibition, London 1962, 3.1: Knoedler London Exhibition 1976, 4.1: 1960 ov, 1961, 1962, 1966, see also Liverpool
The Lone Ranger, 1977 - 2.1: 1988, 3.1: The Lone Ranger, 1977
Long, Captain Elgen, The Adventurer, between 1971 and 1977 - 2.2: Gallery Mack 1975 -87, 4.1: 1982
Lonsdale International Sporting Club - 1.1: Awards
Los Angeles Institute of Contemporary Art (LAICA) - 3.1: Neiman/Warhol Exhibition at LAICA 1981-82
Louganis, Greg - see swimming and diving
Louis, Allyson - see Allyson Louis Gallery
Louis, Joe - see boxing
Nick Lowery, 1992 - 4.1: 1992, 1997
Lubel, William - 2.1: 1973
Lynch, David - 3.1: "Cig Art" Benefit Exhibitions 1996-2000
Maccioni, Sirio - 4.1: 2004
Mack, Barbara - see Gallery Mack
Madison Square Garden - 2.1: 1981, 4.1: 1966, 1967, 1968, 1969, 1971, 1987, 1992, 1994, 1999, 4.2: -- Playboy -- 1963, see Appendix E
Madison Square Garden (silkscreen) - 4.1: 1978
Madrid, Spain - 4.1: 1960 ov
A Magic Moment, 1990 - see Orlando Magic under "baseball"
magical creatures - see animals: unicorn
Mahoney, James - 2.1: 1983, 3.1: Pebble Beach Golf 1982-1995
Mailer, Norman - 4.1: 1982
Maitland, Vic - 2.2: NFL Alumni
Make-a-Wish Foundation - 4.1: 2000
Maki, Mary Ann - 2.1: 1993, 1995, 1997
Malave, Chu Chu - see boxing
Malinowski, Mark "Scoop" - 4.1: 2000
Malletmen, 1977 etching - see polo
Manager of the Year, 1992 - see LaRussa, Tony
Mandalay Bay - 3.1: De La Hoya vs. Vargas 2002
Mandela, Nelson - 3.1: Nelson Mandela Tribute 1997
Mangione, Chuck - 4.1: 2004
Manhattan Bride -- Magazine - 4.1: 1999
Manhattan Concert Club - 4.1: 2004
Manhattan Magazine - 1.1: Awards, 2.1: 1989, 3.1: LeRoy Neiman Center for Print Studies, Columbia University 1995 - present, 4.1: 1984, 1990, 1997, 1998, 1999 Manila, Phillipines - 3.1: Ali vs. Frazier III "The Thrilla in Manila," 1975
Manufacturers Hanover Trust Company - 2.1: 1978, 2.2: Manufacturers Hanover and Chemical Bank, 3.1: New York City Marathon 1984-2001, 3.1: Millrose Games 1986-1995, see also Chemical Bank and McCabe, Charles
marathon - see running
March of Dimes - 2.1: 1981, 1982, 3.1: March of Dimes' Gourmet Gala 1985, 4.1: 1974, 1981, 1983, 1985
The Organ at St. Paul the Apostle, 1965 - 4.1: 1965, 1967
Symphantasy - 3.1: Symphantasy 1988
Symphony for United Nations, 1991 - 2.1: 1991, 4.1: 1991
country - 4.1: 1994, see Tennessee
jazz - see jazz
opera - see opera
popular - 3.1: Fifth Dimension Album Art 1970-82, 3.1: Billboard Magazine First Annual Billie Awards 1993, 4.1: 1993, see The Beatles; Bennet, Tony; Blues Ball; Davis, Sammy; Iglesias, Julio; Jackson, Michael; Lennon, John; Paul, Les; Sinatra, Frank
musicals - see Times Square, 2001
Angels on Horseback - 4.1: undated 1980s
Golden Boy - 4.1: 1964
My Fair Lady - 3.1: Showstoppers Group Exhibition, MCNY 1983, 4.1: 1983
Oh! Calcutta - 4.1: 1967
Porgy and Bess - 3.1: Showstoppers Group Exhibition, MCNY 1983, 4.1: 1983
West Side Story - 3.1: Showstoppers Group Exhibition, MCNY 1983, 4.1: 1983
Mustang Ranch - 3.1: Mustang Ranch Brothel 1989
Myasthenia Gravis Foundation - 4.1: 1978
Myers, Farlan - 2.1: 1986
Mystic Seaport, CT - 3.2. -- Moby Dick -- , 1975, The Artist's Limited Edition
Mystic Rock, 1995 - 4.1: 1997
NAMTA - 4.1: 1984
NBC - see television
NECO (National Ethnic Coalition of Organizations) - 1.1: Awards, Citations and Miscellaneous Prizes
Nabisco - see promotions
Nahan, Kenneth - 4.1: undated
Naismith Memorial Basketball Hall of Fame - see basketball
Namath, Joe - 3.1: New York Jets 1966-, 4.1: 1968, 1972, 1973, 1982
Napoleon at Waterloo, 1988 serigraph - 4.1: 1988
Nash, Beau - 3.1: The Ambassadors, 1960s
The Nation -- Magazine - 2.1: 1998, 4.1: 1998
National Art Museum of Sport (NAMOS) - 2.1: 1972, 1979, 4.1: 1980, 2003 see also exhibitions
National Arts Club - 4.1: 1994
National Baseball Hall of Fame and Museum, Cooperstown, NY - see baseball
National Bowling Hall of Fame and Museum - see bowling - Million Dollar Strike, 1982
National Cowboy Hall of Fame - 2.1: 1999, 3.1: National Cowboy Hall of Fame 1985
National Fitness Classic - 4.1: 1982, 1983
National Multiple Sclerosis Society - 4.1: 1969, 1976, 1980, 1988
National Sports Collectors Convention - 4.1: 1992 ov.
Playboy -- Magazine and Man at His Leisure - see Appendix E, 2.2: Playboy Enterprises Inc. 1980s, 3.1: 1984 Olympics, Los Angeles, 4.1: 1959, 1966, 1999, 4.2: -- Playboy -- Magazine, V: Playboy Clubs 1961-63
The Plaza Hotel, New York - 4.2: -- Playboy -- 1965, see Appendix E
The Plaza Square, 1985 - 4.1: 1985, 1986
tapestry - 2.1: 1990
Poland - 2.1: 1976, 1987
Plunkett, Sherman - 4.1: 1967
Police Athletic League - 2.1: 1981
politics - 3.1: Bill Bradley 1978-2000, 3.1: Peace Treaty, 1980, 3.1: Peter Dawkins Poster 1988, 3.1: Rudy Giulianni and Commission on Cultural Affairs 1994-2001, 3.1: Nelson Mandela Tribute 1997, 4.1: 1960, 1968, 1988, 1989, 1992, see also Thurmond, Strom, and The White House
Sinatra, Frank -- - 1.1: New York Friars Club, 2.2: Sinatra Family Correspondence, 3.1: Hammer Galleries Solo Exhibition 1967, 3.1: Frank Sinatra Film Drawings Exhibition, Gallery of Modern Art 1967, 3.1: Leo Durocher 1974-94, 3.1: Frank Sinatra Portraits for Duets and Duets II Albums 1993-1995, 3.1: Hofstra Univ. Frank Sinatra Conference and Exhibition 1998, 3.1: Frank Sinatra Classic Duets Album Cover 2002, 4.1: 1979, 1983, 1989, 1998, see also golf, 4.2: Playboy Ephemera 1960s
Frank at Rao's, 2005 serigraph - 4.1: 2005
Frank Sinatra, 1993 - 3.1: Frank Sinatra Duets and Duets II Album Covers 1993-1995
Frank Sinatra at Carnegie Hall, 1974 - 3.1: Frank Sinatra at Carnegie Hall Poster 1974
Frank Sinatra as the Detective, 1967 - 3.1: Frank Sinatra Film Drawings Exhibition, Gallery of Modern Art 1967
Frank Sinatra at Madison Square Garden, 1974 drawing for poster - 4.1: 1974
Frank Sinatra at Royal Albert Hall, 1989 - 3.1: Frank Sinatra at Royal Albert Hall 1989
Singleton, Isaiah - 2.1: 1996
Singleton, Skip - see tennis: Intelligent Doubles and Intelligent Tennis
skating - see figure skating
skiing -- - 4.1: 1983, 1995, see also Olympics: skiing
Lady Skier - 4.1: 1998
Little Skier - 4.1: 1974
The Skier, serigraph - 3.1: Circle Gallery 1972
Skiing, etchings - 3.1: Circle Gallery 1972
Slalom, serigraph - 3.1: Circle Gallery 1972, 4.1: 1973
Squaw Valley - 4.2: -- Playboy -- 1961, V: 1960s, see Appendix E
Vail Race to Erase MS painting, 1994 - 4.1: 1995
Skoal Pinch Hitter of the Year Award - 3.1: Skoal Pinch Hitter 1985-1987
Slatkin, Leonard, Leonard Slatkin, 1980? - 4.1: 1980
Special Olympics -3.1: Special Olympics Nagano Japan 2005, 4.1: 1986, 1996, Mississippi Special Olympics - 2.1: 1977
The Spectrum, Philadelphia, PA - 2.1: 1991, 1996, 3.1: Philadelphia Spectrum Painting 1991, 4.1: 1992, V: Photographs
Spectrum Fine Art, New York - 3.1: "Ball, Bat, and Glove", Spectrum Fine Art, 1977, 4.1: 1978
Spelling, Aaron - 2.1: 1985
Spinks, Leon - see boxing
Spinks, Michael - see boxing
Spirit Foundation - 2.1: 1999
Spitz, Mark - see swimming and diving
The Sporting Life - 4.1: undated
The Sporting News - 3.1: Iona College Trustee Awards Dinner Dances 1984-95
sports - listed alphabetically by name of sport (i.e. "baseball," "soccer"), with teams listed under heading of appropriate; in some cases college and professional sports are indexed separately. Also search for names of specific athletes.
sports arenas - see Madison Square Garden, Philadelphia Spectrum
sports cards - see trading cards
Sports Collectors Digest - 4.1: 1997
Sports Commemorative Decanters - see promotions and collectibles
sportscasters - see also Cosell, Howard, and Rooney, Art
American Sportscasters Association - 1.1: Awards
Sportsman's Ball - 3.1: Sportsman's Ball 1978
Sportsman's Park, Chicago - 3.1: Sportsman's Park Mural, Chicago 1976
SportsWise Magazine - 2.1: 1980
Springfield Art Association, Illinois - 2.1: 1990
Stadium Tennis, 1981 - see tennis
The Stag's Head Bar, Dublin, 1961 - see bars
Stallone, Sylvester - see Rocky, 4.1: 1987
stamps - 4.1: 1974
"Health in Sports" stamps, 1988 - 3.1: United Nations "Health in Sports" Stamps 1988
"Sport and the Environment" stamps, 1996 - 3.1: United Nations "Sport and the Environment" Stamps 1996
"Superbowl History" Stamps, 1988 - 3.1: U.S. Postal Service Superbowl Stamps 1988
Taylor, Elizabeth - 3.1: Celebrity Night at Spago, 1993
Taylor, Lawrence - 4.1: 1996
television - 2.1: 1970, 1978, 4.1: 1972, 1974, 1975, 1977, 1979, 1980, 1985, 1994, 1995, 3.1: Call of the Wild 1993, see also ABC, CBS, American Federation of Television and Radio Artists, The Lone Ranger
ABC Sports - 2.2: ABC Sports
Ampex Video Art - 3.1: Superbowl XII, 1978, 4.1: 1980
Arlene Herson Show - 4.1: 1989
The Black Stallion television show - 2.1: 1990
CBS Sports - 2.2: CBS Sports, 3.1: Superbowl XII, 1978
Shukan T.V. Guide, Japan - 2.1: 1996, 3.1: 1984 Olympics, Los Angeles
TV Food Network - 2.1: 1993
TV Gallery with Ron Parris - 2.1: 1979, 4.1: 1979
T.V. Guide - 2.1: 1975
T.V. Guide Japan - 2.1: 1996, 4.1: 1984
TV Shopper - 2.1: 1979, 4.1: 1973, 1980
Tele Planning International, Tokyo - 2.2: Tele Planning International, Tokyo 1993-98
Today Show - 3.1: WNBC Traffic Helicopter 1981-93
WGBH TV Boston - 2.1: Charities 1994, Charities 1996
Wonderama TV Show - 4.1: undated 1970s
The Year of the Runner TV series, LeRoy Neiman host - 4.1: 1979
Tenenbaum, Judy and Harold - 2.1: 1984, 1986, 1988, 2.2: Harold and Judy Tenenbaum
Tennessee - 3.1: Women's Basketball Hall of Fame, 1993, 3.1: Iroquois Steeplechase, Nashville, TN, 1993, 3.1: Blues Ball 1997 -2004, see also Gregory, Jack; Morris, Gary and Elizabeth; Murphy, Libby; Perkins, Carl; Rudy, Jeanette Cantrell; Tigrett, John and Pat Kerr
tennis -- - 3.1: Nelson Mandela Tribute 1997, 3.2. -- Winners -- , 1983, Harry N. Abrams, 4.1: 1975, 1980, 1985, 1988-89, 1997, 1999
The Splendid Splinter - 3.1: Williams at Bat, 1980-1991, 4.1: 1993, 2002
Williams at Bat, 1980 painting and 1991 serigraph - 3.1: Williams at Bat, 1980-1991, 4.1: 1981, 1991, 2002
Win a Few, Lose a Few, 1972 boxing documentary film - 4.1: 1972
Windsor Gallery - 4.1: undated 1970s
wine -- - 4.1: 1997, see also champagne
labels - 3.1: David Frost Wines 2001, 4.1: 1992, 1996, see also golf: Atlanta National Golf Club California Merlot
Wine Country Film Festival - 3.1: Wine Country Film Festival 1990
Wine, Women, and Cigar, 1996 - see cigars
Winged Foot - see golf
Wingmead - 2.2: JoAnn Perse Gallery 1983-02
Winners, 1983 - 2.2: ABC Correspondence, 2.2: Neiman-Marcus 1983-88, 2.2: Sterling/Winters Company 1983-84, 3.1: Hanson Galleries New Orleans and Carmel, 1983-84, 3.2. -- Winners -- , 1983, Harry N. Abrams, 4.2: The Ring Magazine
Wisconsin - 2.2: Bobby Hinds 1990-2000
Wittnauer International - see Universal Geneve
Wolf, Martin B. - 4.1: 1964
Wolfberg, Lee - 4.1: undated 1980s
Wolfson, Mr. and Mrs. Robert L. - 4.1: 1967, 1980
Women of Excellence - 2.1: 1985
Women's Basketball Hall of Fame - 3.1: Women's Basketball Hall of Fame, 1993
The records of the National Arts Club measure 32.1 linear feet and date from 1898 to 1960. The collection documents the founding of the club, and it's governance, administration, exhibitions, and social activities
Scope and Content Note:
Records of the National Arts Club, spanning the period 1898 to 1960, document the founding of the organization, and its governance, administration, finances, exhibitions, and social activities. There are large gaps in the records and many of those surviving are incomplete, which can be explained by a 1932 resolution of the Board of Governors that "old files and letters and bills in the storeroom prior to 1922 may be destroyed at the discretion of the Secretary and Treasurer."
Minutes and reports of the Board of Governors and Executive Committee are fairly complete through 1949, but sparse thereafter. Records do not exist for all standing and special committees, and those remaining tend to be concentrated in the early twentieth century.
Correspondence of the officers, for the most part, is routine and relates to administrative matters. Financial records cover the period 1917 to 1950, with a large number of gaps.
A small number of records of the Arts Realty Co. (later known as 15 Gramercy Park, Inc.) are extant. These include lists of stockholders, correspondence concerning mortgage bonds, and minutes.
Membership records, arranged alphabetically, are available for the years 1931 to 1959, and there are rosters arranged by membership category, 1940-1952; in addition, printed membership lists were issued circa 1900-1951.
More than four hundred exhibitions are known to have been held in the galleries of the National Arts Club between 1899 and 1960. Catalogs for 124 National Arts Club exhibitions are available at the Archives of American Art; 69 titles are to be found among the Club's records and an additional 55 were microfilmed previously as parts of other collections. Other exhibition documentation includes printed matter such as invitations, entry blanks, publicity, and photographs (see Appendix A). For some exhibitions, supporting documentation such as correspondence with exhibitors and collectors, sales and consignment records, and shipping receipts have survived. These files are mainly confined to Books of the Year exhibitions, Arts and Crafts/Decorative Arts exhibitions, and a smaller number of exhibitions of Living American Etchers, 1928-1957.
General social events, activities sponsored by Arts Club committees, and special commemorative occasions are documented by invitations, programs, publicity, calendars of events, and photographs. The majority of this material is contained in seventeen scrapbooks, 1898-1940. Programs of the Men's Open Table, 1915-1950, are particularly well documented by the Chairman's correspondence and three volumes containing meeting notices with signatures of members in attendance.
In addition to printed matter relating to exhibitions and events, scrapbooks, 1898-1940, contain general publicity, clippings concerning members, and samples of National Arts Club printed matter such as form letters to the general membership, brochures, ballots, house rules, published membership lists, year books, and the like. Loose printed matter augments that preserved in the scrapbooks. These sources combined provide a fairly complete set of the Bulletin, but the number of year books is small, and there are catalogs of only slightly more than a third of the exhibitions identified.
Photographs, in addition to those recording exhibitions and events, include portraits of governors, officers, distinguished visitors, speakers, and performers; views of Gramercy Park and the interior and exterior of the clubhouse; and works of art in the permanent collection.
Miscellaneous material includes information on the National Arts Club's first home on West 34th Street, and the Tilden Mansion, its current clubhouse on Gramercy Park; histories of the organization; unpublished speeches presented at Club occasions; and copies of legal documents, including the Club's charter and act of incorporation.
See Appendix A for an annotated list of National Arts Club exhibitions, 1899-1960
The records are arranged into the following series:
Series 1: Board of Governors, 1898-1960, undated
Series 2: Administration, 1898-1960, undated
Series 3: Financial Records, 1917-1952
Series 4: Membership, circa 1900-1962
Series 5: Arts Realty Co., 1909-1913, 1945-1956, undated
Series 6: Miscellaneous, 1890-1961, undated
Series 7: Photographs, 1899-1957, undated
Series 8: Printed Matter, 1893-1960, undated
Series 9: Scrapbooks, 1898-1940
The National Arts Club was founded by Charles de Kay, literary and art critic for the New York Times who believed there was a need for a club uniting all of the arts. In March of 1898, de Kay called together a number of civic leaders and men prominent in the art world who supported the idea, elected the first officers and incorporated the Club in 1899.
As stated in a circular issued by the Club, its specified purposes were: to promote the mutual acquaintance of art lovers and art workers in the United States; to stimulate and guide toward practical and artistic expression the artistic sense of the American people; to maintain in the City of New York a Club House...for social purposes in connection with the arts; to provide proper exhibition facilities for such lines of art, especially applied and industrial art, as shall not be otherwise adequately provided for in the same City; and to encourage the publication and circulation of news, suggestions and discussions relating to the fine arts.
During its initial months, the National Arts Club operated from a temporary office at 156 Fifth Avenue. In the search for a permanent site, considerable care was taken to select an auspicious location and accommodations, and in 1899 the first clubhouse was opened at 37 West 34th Street in leased quarters renovated expressly for the Club. Within a year, the gallery and restaurant required additional space, and there was a desire to provide overnight quarters for members visiting from out of town. In 1901 the Club created a corporation, Arts Realty Co., which issued shares to members and other investors for the purpose of raising funds to purchase the adjacent property (39 West 34th Street). This end was accomplished, and when it was decided to move the Club to another location, proceeds from the sale of the lease on 37 West 34th Street and the lot next door, augmented by additional funds subscribed by members, enabled Arts Realty Co. to acquire the Tilden Mansion at 15 Gramercy Park in 1905. Construction was begun immediately on a connecting studio tower to the rear (119-121 East 19th Street), designed by architect and Club President George B. Post. Upon completion, the Club bought the property from Arts Realty Co., issuing both First and Second Mortgage Bonds to individual subscribers. The Gramercy Park property has been occupied by the Club since 1906.
A show of American gold and silver work in October 1899 was the first exhibition held at the National Arts Club. Decorative arts, crafts, and industrial arts figured prominently in early exhibitions, as did designs for civic improvements. The monthly exhibition schedule emphasized contemporary American art, but also included some historical shows. Members of the public were admitted without charge to the galleries, where they could view such innovative and important exhibitions as Pictorial Photographs presented by the Photo-Secession (1902) and a group exhibition featuring the works of Robert Henri, William Glackens, George Luks, Arthur B. Davies, and Maurice Prendergast (1904). After about 1907, exhibitions grew more conservative, probably reflecting the personal tastes of Art Committee members rather than a formal opposition of the Club to nonrepresentational art. Increasingly, the exhibition schedule was filled by shows of members' work, the Club's permanent collection (mainly works by artist members, usually given in payment for life membership), the Annual Arts and Crafts exhibitions, Books of the Year exhibitions, and shows organized by various art societies.
In addition to exhibitions, the National Arts Club regularly featured a variety of cultural programs such as concerts, lectures, and dramatic presentations for members and guests. Parties, dinner, dances, and other social activities drew members to the Club, too. During its first years, some artist members expressed dissatisfaction with the high priority given social functions; by 1905, J. Carroll Beckwith, Walter Shirlaw, and Stanford White were among those who had resigned for this reason.
Within the National Arts Club there have been some smaller societies. The earliest of these were The Discus, a short lived dining and debating club, and The Vagabonds, a lunch group of writers, editors, printers and illustrators. The Men's Open Table, founded in 1910, met weekly for more than forty years for dinner followed by a talk, given by a fellow member or an outside, often professional, lecturer. A wide range of topics, not necessarily on the arts, were presented and discussed at the Men's Open Table. The American Institute of Graphic Arts is one of the organizations said to have developed from associations formed and discussions held at the Men's Open Table. A Women's Open Table, patterned after the men's, was established later.
The National Arts Club, unlike many other private clubs founded during the same era, admitted women members from its inception. Throughout its history, the Club's membership has been comprised of artists, musicians, writers, and performers, as well as collectors and supporters of the arts drawn from all parts of the country. Membership peaked at around 1,800 in 1920, declining throughout the Depression and again in the mid-1950s, and remaining at about 600 for the next two decades.
1898 -- Founding; occupied temporary office at 156 Fifth Ave.
1899 -- Incorporation; leased clubhouse at 37 West 34th St.; opened first exhibition, American Gold and Silver Work
1900 -- Constitution adopted
1901 -- First donations to permanent collection; Arts Realty Co. formed for the purpose of acquiring and financing the adjacent property (39 West 34th St.)
1905 -- Arts Realty Co. purchased Gramercy Park property (Tilden Mansion) on behalf of NAC; remodeling of clubhouse and construction of studio tower begun
1906 -- Plan for financing new clubhouse approved; second Mortgage Bonds issued; clubhouse and studio tower occupied; First Annual Books of the Year Exhibition
1907 -- Annual Members' Exhibition initiated; Bulletin began publication
1910 -- First meeting of Men's Open Table (established 1909)
1914 -- Essay contest, "A Critical Estimate of the Altman Collection"
1917 -- American Artists War Emergency Fund Committee issues art stamp
1923 -- Junior Artist membership category created
1930-1931 -- Essay contest, "Soul of America"
1940 -- Works by deceased artist life members deaccessioned from permanent collection; fund for refugee artists established
1962 -- Clubhouse designated New York City Landmark
1976 -- Clubhouse designated National Historic Landmark
1987 -- NAC records donated to Archives of American Art
Appendix A: Annotated List of National Arts Club Exhibitions, 1899-1960:
* = photographs included with records of NAC (See pp. 22-23 for reel and frame numbers)
+ = photograph in NAC album (See pp. 24 for reel and frame numbers)
x = catalog, checklist, or printed announcement included with NAC printed matter
s = copy of catalog in NAC scrapbook (volume number noted, see pp. 27-32 for reel and frame numbers of each volume)
Microfilm reel and frame numbers (e.g.: N134:416-419) are cited below for NAC catalogs appearing in other collections within the Archives of American Art.
DateExhibitionOct. 30 *, 1899 -- House Warming, Exhibition of American Gold and Silver Work
Nov. 13-18, 1899 -- Tenth Exhibition of the Woman's Art Club; Reception to Miss Cecilia Beaux (N134:416-419)
Nov. 27-Dec. 10, 1899 -- Art Pottery, American, Oriental, and European (N134:407-415)
Dec. 23-Jan. 8, 1899 -- Exhibition of Small Bronzes (N134:437-443)
Jan. 13, 1900 -- Exhibition of Photographs, works by members of the Society of Mural Painters
Jan. 29, 1900 -- Design for Street Refuge, shown by New York Municipal Art Society
Feb. 5-22, 1900 -- Exhibition of Embroideries and Native Rugs (N134:420-425)
Feb. 24-Mar. 10, 1900 -- John Leslie Breck Memorial Exhibition (N443:703-708; N551:719-724)
Mar. 24-Apr. 14, 1900 -- Pastel Exhibition, American Work
Apr., 1900 -- Old and Modern Japanese Prints
Apr. 14-21, 1900 -- Ernest Tarleton Memorial Exhibition
Apr. 21-May 3, 1900 -- Exhibition of Color Reproductions, American and European
May 10-21, 1900 -- American Art Leatherwork (N134:432-426)
May 24-30, 1900 -- Small Exhibition of Japanese Water Colors
May 31-June 14, 1900 -- William Hamilton Gibson Memorial Exhibition
June, 1900 -- New York Municipal Art Society Competition
Nov. 28-Dec. 19 x, 1900 -- Arts and Crafts (N134:421-431)
Jan., 1901 -- Birds and Beasts in Art
Feb., 1901 -- Art Leatherwork and Objects Relating to the Hearth
Mar., 1901 -- Works by the Society of Mural Painters
Apr., 1901 -- Books and Bookmaking
Apr., 1901 -- Howard Walter, Water Colors Taken in Europe
May, 1901 -- Glass in the Arts
May, 1901 -- Memorial to John A. Fraser, His Paintings
May-Nov., 1901 -- Arts and Crafts in the Liberal Arts Building, Pan-American Pacific Exhibition, Buffalo, N.Y.
June-Sept., 1901 -- Sculpture, Oil Paintings, Pastels, Water Colors, and Objects of Industrial Art by Members of the Club
Oct., 1901 -- Memorial Window for the Ames Family by John La Farge
Nov., 1901 -- Annual Exhibition of Paintings and Sculpture by the Woman's Art Club
Dec., 1901 -- Objects Shown at the Pan-American Pacific Exposition
Jan., 1902 -- Ecclesiastical Art
Feb., 1902 -- Art Objects Relating to Civic Art, under the auspices of the Municipal Art Society
Mar., 1902 -- American Pictorial Photographs, shown by the Photo-Secession
Mar. 26-Apr. 21, 1902 -- Fourth Annual Exhibition of the National Sculpture Society (N551:725-729; N134:446-451)
May, 1902 -- Pictures of "Womanhood"
May, 1902 -- Memorial Window for Baltimore by D. Maitland Armstrong; Memorial Window for Wells College by Mrs. Ella Condie Lamb June Window in Stained Glass, Memorial to Julia Doane, Chicago, by John La Farge
Oct., 1902 -- Collection of Objects in Metal; Artistic Bird Cages lent by A. W. Drake, Esq.
Nov., 1902 -- Annual Exhibition by the Woman's Art Club
Nov., 1902 -- Paintings by Four Western Artists, Messrs. Duveneck, Steele, Meakin and Sharp, through the courtesy of the Cincinnati Museum Association
Dec., 1902 -- Designs Submitted for Competition for the Emblem of the Louisiana Purchase Exposition
Jan. s, 1903 -- Portraits of Napoleon, lent by John Leonard Dudley, Jr., Esq. (volume 4)
Jan., 1903 -- "Autumn," Stained Glass Window for the country residence of William C. Whitney, by John La Farge
Feb., 1903 -- Eskimo and Arctic Objects, with Paintings from the Arctic and Antarctic Circles by Frank Wilbert Stokes
Mar., 1903 -- Objects of Municipal Art
Apr., 1903 -- Examples of Ideal Art by American Artists
May, 1903 -- Sculptures by Rodin, Roche, and Rivere, belonging to Miss Lois Fuller
May, 1903 -- Portraits and other Paintings by American Artists of the Colonial and Early Periods
June-Oct., 1903 -- Summer Exhibition of Paintings, Water Colors, and Sculpture by Members of the Club
Nov., 1903 -- Jewelry and Precious Stones, Modern, Old and Oriental
Dec. 1-14, 1903 -- Thirteenth Annual Exhibition of the Woman's Art Club (N134:452-456)
Dec., 1903 -- Stained Glass Window, designed by Miss Mary E. Tillinghast
Dec., 1903 -- Sketches for the Sculpture at the Louisiana Purchase Exposition, shown by the National Sculpture Society
Jan. 5-16 s, 1904 -- Loan Exhibition of Pictures by Eminent American Painters (N134:426-464, and volume 4)
Jan. 5-16 s, 1904 -- Loan Exhibition of Pictures by Robert Henri, William Glackens, George Luks, Arthur B. Davies, and Maurice Prendergast (volume 4)
Feb., 1904 -- Pictures by Contemporary American Artists
Mar. 2-15, 1904 -- Loan Exhibition of Pictures by American Figure Painters (N50:471-472; N134:460-461)
Mar., 1904 -- Annual Exhibition of Objects of Municipal Art
Apr. 5-15 s, 1904 -- Loan Exhibition of Pictures by Some Boston Artists (N443:713-715, and volume 4)
Apr. 19-30 s, 1904 -- Loan Exhibition of Pictures by Old Masters, lent by the Messrs. Durand-Ruel (N443:711-712; N134:462-464, and volume 4)
May 3-14 s, 1904 -- Oil Paintings, Water Colors, and Drawings by John La Farge, N.A. (volume 4)
May, 1904 -- Photographs of Paintings by Old Italian Masters, under the auspices of the Library Committee
Oct., 1904 -- Work of Holders of the Lazarus and Reinhart Scholarships executed while at the American Academy in Rome
Nov., 1904 -- "The Moral and Divine Law," painting by John La Farge
Nov., 1904 -- Exhibition by Members of the Nippon-Bijitsuin (Japanese Art Academy)
Jan., 1905 -- Exhibition by the Lyme Group of Painters
Feb., 1905 -- "Old Masters" and Aphrodite
Feb., 1905 -- Pictures by Some Boston Artists
Mar., 1905 -- Annual Exhibition of the Municipal Art Society of New York
Apr., 1905 -- Artistic and Commercial Posters, under the Auspices of the Municipal Art Society
Apr., 1905 -- Textiles and Ceramics
Oct., 1905 -- "Out of Doors" as Seen by Various Artists
Nov., 1905 -- Color Prints by S. Arlent-Edwards
Dec., 1905 -- American Indians as Seen by the Artist and the Artist Photographer
Jan., 1906 -- Birds and Beasts in Art
Feb., 1906 -- Miniatures
Mar., 1906 -- Fifth Annual Exhibition of the Municipal Art Society
Mar., 1906 -- Exhibition by the Alumni of Cooper Institute
Apr. 2-14 s, 1906 -- Municipal Art Society Exhibit of Poster Designs (volume 4)
Apr.-May, 1906 -- Exhibition by the Women's Art Club of New York
Nov. 8-18 s, 1906 -- Opening Exhibition [first exhibition in new quarters]: American Paintings from the Collection of Mr. William T. Evans (D45:29-34, and volume 4)
Dec., 1906 -- Books of the Year
Dec. 8-Jan. 1 s, 1906 -- Pictures by Some American Painters (volume 4)
Jan. 12-Feb. 1 s, 1907 -- Modern German Paintings from the Collection of Mr. Hugo Reisinger (N443:716-717, and volume 4)
Feb. s, 1907 -- Exhibition of Wood Engravings by Timothy Cole made for Century Magazine
Feb., 1907 -- Longfellow Memorial
Mar. 13-31, 1907 -- Sixth Annual Exhibition of the Municipal Art Society of New York
Apr., 1907 -- New York Society of Ceramic Artists
Apr., 1907 -- Paintings and Sculpture by Members
May s, 1907 -- Exhibition of Artists' Preliminary Sketches
May-Nov., 1907 -- Sketches by Members
Oct. 16-Nov. 16 s, 1907 -- Fall Exhibition of Sketches by Members (volume 4)
Nov. 20-Dec. 11, 1907 -- Arts and Crafts Exhibition (N29:1001-1026)
Dec., 1907 -- Second Annual Exhibition of the New Books of the Year
Jan. 4-25 s, 1908 -- Contemporary Art (N443:744-746, and volume 5)
Feb., 1908 -- First Annual Exhibition of Advertising Art
Nov., 1927 -- Twenty-second Annual Exhibition of Books of the Year
Dec. 7-24 +, 1927 -- Fifth Annual Exhibition of Works of Living American Etchers (N552:13-18)
Jan., 1928 -- Members' Annual Exhibition of Painting and Sculpture
Feb. 8-29 +, 1928 -- Small Paintings
Mar. 8-31 x, 1928 -- Exhibition of Decorative Arts
Apr. 4-20 +, 1928 -- Exhibition by Junior Artist Members of the Club
Nov., 1928 -- Twenty-third Annual Exhibition of Books of the Year
Dec., 1928 -- Small Paintings
Jan. 8-Feb. 8 + -- Members' Annual Exhibition of Painting and Sculpture
Feb. 13-Mar. 8 -- Sixth Annual Exhibition by Living American Etchers
Mar. + -- Richard M. Hurd Loan Exhibition of Italian Primitives
Apr. 3-26 + -- Exhibition by Junior Artist Members of the Club
May 1-Oct. 1 + -- Summer Exhibition by Painter Life Members
Nov. -- Twenty-fourth Annual Exhibition of Books of the Year
Dec. 4-26 * + -- Exhibition of the Decorative Arts
Jan. 8-Feb. 1 +, 1930 -- Members' Annual Exhibition of Painting and Sculpture
Feb. 5-28 x +, 1930 -- Seventh Annual Exhibition of Living American Etchers
Mar. 5-28 +, 1930 -- Junior Artist Members' Exhibition
Apr. 16-Sept. 30 +, 1930 -- Members' Exhibition of Small Paintings (N134:484-490)
Nov., 1930 -- Silver Anniversary Exhibition of Books of the Year
Dec. 3-26 * +, 1930 -- Eighth Annual Exhibition by Living American Etchers
Jan. 7-Feb. 6 +, 1931 -- Members' Annual Exhibition of Painting and Sculpture
Mar. 4-27 +, 1931 -- Exhibition by the Junior Artist Members
Mar. 13-Apr. 15 x, 1931 -- Auction Exhibition and Sale by Artist Members
Apr. 1-25 +, 1931 -- Members' Work of the New York Water Color Club
May 2-24 +, 1931 -- The Story of Gramercy Park in Portraits and Historical Objects of the Period, in connection with Gramercy Park Centenary Celebration
June 3-Oct. 1 +, 1931 -- Members' Exhibition of Small Paintings
Oct. 21-Nov. 20, 1931 -- Twenty-sixth Annual Exhibition of Books of the Year
Nov. 26-Dec. 26, 1931 -- Sixteenth Annual Exhibition by the Society of American Etchers (formerly The Brooklyn Society of Etchers)
Jan. 6-13 +, 1932 -- Members' Annual Exhibition of Painting and Sculpture
Feb. 3-27 +, 1932 -- Exhibition of Drawings by Artist Members
Mar. 2-26 +, 1932 -- Paintings by Junior Artist Members
Mar. 13-Apr. 15 +, 1932 -- Auction Exhibition and Sale by Artist Members
Apr. 20-30 +, 1932 -- Exhibition by a Group of New York Art Schools
May 4-Oct. 1 +, 1932 -- Members' Annual Exhibition of Small Paintings
Jan. 4-27 +, 1933 -- Members' Annual Exhibition of Painting and Sculpture
Mar. 1-31 +, 1933 -- Junior Artist Members
Apr. 5-22 +, 1933 -- Society of Illustrators
May 3-Oct. 1 +, 1933 -- Members' Exhibition of Small Paintings and Sculpture
Jan. 3-27 +, 1934 -- Members' Annual Exhibition
Jan. 31-Mar. 2 +, 1934 -- Memorial Exhibition of a Group of Former Painter and Sculptor Members: Max Bohm, Emil Carlsen, Charles Hawthorne, Robert Henri, Karl Bitter, Solon Borglum, Daniel Chester French, Edmund Quinn
Mar. 7-29 +, 1934 -- Junior Artist Members
Apr. 4-27 +, 1934 -- Society of Illustrators, Thirty-second Annual Exhibition
May 2-June 28 +, 1934 -- Members' Exhibition of Small Paintings and Sculpture (N552:69-71; N134:491-494)
Nov.-Dec., 1934 -- Seventeenth Annual Exhibition of the Society of American Etchers (formerly The Brooklyn Society of Etchers) (N552:49-65)
undated -- Twenty-ninth Annual Exhibition of Fifty Books of the Year
Apr. 24-May 3 +, 1940 -- Flower and Still Life Paintings
May 8-June 1, 1940 -- Special Exhibition of Water Colors, Architectural Renderings, Type Compositions, and Color Reproductions by Edwin Hooper Denby, A.I.A., S.A.D.G. (N443:779-780; N134:509-510)
Dec. +, 1940 -- Twenty-fifth Annual Exhibition of the Society of American Etchers
Feb. 4-Mar. 1, 1942 -- Exhibition of Paintings by Artists of the United Nations (N134:512-518)
June 12-Sept. 30, 1942 -- Members' Summer Exhibition (N134:519)
Dec. 16-Jan. 22, 1942 -- Exhibition of Chinese and Indian Art (N134:520)
Mar. 31-, 1943 -- Exhibition of Junior Members (N134:521)
July 1-Sept. 30, 1943 -- Summer Exhibition of Smaller Paintings by Members (N134:522)
Feb. 17-Mar. 15, 1944 -- Exhibition of Studies by American Masters (N134:523)
Oct. 5-27, 1944 -- Exhibition of Enlarged Photographs of American Patriots as Seen in Sculpture (N134:523)
Jan. 10-Feb. 9 x, 1945 -- Members' Annual Exhibition of Painting and Sculpture
Dec. 22-Jan. 4, 1945 -- Seventh Annual Exhibition of the American Veterans Society of Artists, Inc. (N134:527-540)
May 21-30, 1946 -- The Traphagen School Exhibition of Costume Design, Illustrating the Development of American Fashion (N134:526)
Feb. 20-Mar. 7, 1947 -- Exhibition of Contemporary Chinese Paintings (N134:541)
Apr. 20-May 2, 1947 -- Junior Members' Exhibition
Dec. 10-24, 1947 -- Ninth Annual Exhibition of American Veterans Society of Artists, Inc. (N121:721-733)
Feb. 23-Mar. 6, 1948 -- Forty-seventh Annual Exhibition of the New York Society of Ceramic Arts (N134:543)
Mar. 9-21, 1948 -- Annual Exhibition of Junior Members (N134:543)
Apr. 8-May 30, 1948 -- Fiftieth Anniversary Exhibition of Painting and Sculpture by Members, Past and Present (N134:543)
June 10-Sept., 1948 -- Members' Summer Exhibition (N134:544)
Jan. 19-Feb. 9, 1949 -- Fifty-first Annual Exhibition of Painting and Sculpture by Members and Guest Artists (N134:544)
Mar. 14-31, 1949 -- Exhibition by Members of the Federation of Modern Painters and Sculptors (N134:545)
May 5-Sept. 15, 1949 -- Members' Summer Exhibition (N134:546)
Oct. 15-Nov. 4, 1949 -- Fourth Annual Exhibition of the Photo-Engravers Society
Jan. 4-Feb. 1, 1950 -- Fifty-second Annual Exhibition of Paintings and Sculpture by Members and Guest Artists (N134:546-548 and 550)
Jan. 28-Feb. 19, 1950 -- Eighty-third Annual Exhibition of the American Water Color Society (N134:549)
Feb. 8-23, 1950 -- Exhibition of Creative Art Associates (N134:549)
Mar. 16-Apr. 2, 1950 -- Exhibition of Room Interiors Especially Designed by Members of the American Institute of Decorators, in collaboration with Members of the National Society of Mural Painters (N134:551)
May 7-28, 1950 -- Active Members' Exhibition (N134:551-554)
June 28-Sept. 15, 1950 -- Members' Summer Exhibition (N134:555)
Feb. 26-Mar. 17 x, 1951 -- Paul Mommen
Mar. 24-Apr. 19, 1951 -- Exhibition of Paintings by Non-Members (N134:558-559)
May 5-31, 1951 -- Spring Water Color Exhibition (N134:560)
June 6-, 1951 -- Group Exhibition by Distinguished Artist Members: Gifford Beal, Louis Betts, Charles Clapman, Walter Farndon, Albert Groll, Eugene Higgins, Leon Kroll, Van Dearing Perrine, Keith Shaw Williams
Jan. 6-30, 1952 -- Fifty-fourth Annual Exhibition of Paintings and Sculpture by Members and Guest Artists (D176:917-919; N134:561)
Feb. 9-28, 1952 -- Annual Water Color Exhibition (N134:562)
Mar. 9-27, 1952 -- Exhibition of Oil Paintings by Distinguished American Artists (N134:572)
Jan. 4-18, 1953 -- Fifty-fifth Annual Exhibition by Painter and Sculptor Members and Guest Artists (N134:563)
Jan. 25-Feb. 8, 1953 -- Annual Water Color Exhibition (N134:564)
Feb. 15-Mar. 1, 1953 -- Open Exhibition of Oil Paintings (N134:565-568)
Mar. *, 1953 -- Art of Indonesia
May 3-24, 1953 -- Members' Exhibition of Smaller Paintings in Oil (N134:569-571)
Nov. 1-14, 1954 -- The American Artists Professional League, American Art Week (N121:258-259)
Oct. 2-19, 1955 -- Open Water Color Exhibition
Jan. 8-22 x, 1956 -- Fifty-eighth Annual Exhibition by Painter and Sculptor Members and Guest Artists (N134:573-575)
June 17-Sept. 7 x, 1956 -- Members' Summer Exhibition
Sept. 24-Oct. 8 x, 1956 -- James H. Walsh
Oct. 28-Nov. 10 x, 1956 -- Small Picture Exhibition by Members and Guests
Nov. 16-30 x, 1956 -- August Benziger
Dec. 5-22 *, 1956 -- Fiftieth Anniversary Exhibition of Books of the Year
Jan. 6-27, 1957 -- Fifty-ninth Annual Exhibition of Painting and Sculpture by Members and Guest Artists
Feb. 1-15, 1957 -- Catherine Lorillard Wolfe Art Club Sixtieth Annual Exhibition (N134:576-577)
Sept. * x, 1957 -- International Exhibition of Painting and Sculpture
Jan. 10-24 x, 1958 -- Sixtieth Annual Exhibition of Painting and Sculpture by Members and Guest Artists
May 21-31 x, 1958 -- Water Color and Graphic Arts Exhibition by Members and Non-Members
Oct. 17-31 x, 1958 -- Twelfth Annual Exhibition of the Photo-Engravers Society
Nov. 22-Dec. 3 x, 1958 -- Metropolitan Young Artists Show
Jan. 11-26 x, 1959 -- Sixty-first Annual Exhibition of Painting and Sculpture by Members and Guest Artists
Dec. 9-Jan. 7 x, 1959 -- Metropolitan Young Artists Show
Jan. 15-28 x, 1960 -- Sixty-second Annual Exhibition of Painting and Sculpture by Members and Guest Artists
Apr. 18-May 1, 1960 -- Catherine Lorillard Wolfe Art Club Flower Painting Exhibition and Sale (D176:1128-1129)
June 8-29 x, 1960 -- Summer Exhibition of Painting and Sculpture by Members
undated -- * Arts and Crafts Exhibitions
undated -- * x Annual Exhibitions of Books of the Year
undated -- * Ceramic Art Exhibition
undated -- x Water-Oils by Charles S. Chapman, N.A.
undated -- x Fine Art of the Caribbean
undated -- x Painters of the United States, 1720-1920, from the Permanent Collection of the Fine Arts Department, International Business Machines Corp.
undated -- * Pottery Exhibition
undated -- * Traveling Exhibition of Enlarged Photographs of Sculpture and Spring Exhibition of Small Sculpture by Members of the National Sculpture Society
undated -- * Exhibition of Small Sculpture
undated -- x Modern Tapestries from Vienna
undated -- x Annual Open Water Color Exhibition
undated -- x Catherine Lorillard Wolfe Art Club, Flower Paintings Exhibition and Sale
These citations were compiled from Art Index, 1929-1960; The New York Times Index, 1898-1960; Poole's Index to Periodical Literature, 1898-1906; Nineteenth Century Readers' Guide to Periodical Literature, 1898-1899; and Readers' Guide to Periodical Literature, 1900-1960, using the format employed in Art Index. Citations are presented in chronological order, as it is anticipated that most researchers consulting the National Arts Club Records will be interested in a specific event or era in the Club's history, or are apt to be researching artists whose National Arts Club affiliation or exhibition activities were confined to a particular period.
National Art Club. -- Harpers Weekly -- 42:329, April 2.
Club to advance art industries. -- Critic -- 34:349-51, April.
National Arts Club organized. -- New York Times -- (7-2), 29-288-2, April 26.
Position as a factor in the encouragement of the fine arts. G. Teall. -- Craftsman -- 15:604-13, February.
Club officials rule a member may take a process server into club as a guest to serve papers on fellow member, case of R.S. Perrin vs. D. Whipple. -- New York Times -- 7:3, June 29.
Lecture of Prof. Eucken on Art and Morality. -- New York Times -- 9:3, March 1.
Offers prize to member who writes best manuscript on "A Critical Estimate of the Altman Collection." -- New York Times -- 12:7, November 8.
Annual exhibition of Books of the Year; organization of American Institute of Graphic Arts planned. -- New -- York Times 9:3, November 13.
Alexander de Yourevitch has visited Russian political exiles as agent from the Czar; arranges for Russian trade exhibit in New York; National Arts Club has agreed to cooperate. -- New York Times -- 20:2, March 27.
Dinner in honor of Shakespeare celebration, address by Henry Clews. -- New York Times -- 13:2, April 24.
Farewell dinner to Karl Vollmoeller and George Sylvester Viereck at National Arts Club by Alfred Rau. -- New York Times -- III, 7:3, May 7.
Exhibition of Books of the Year (editorial). -- New York Times -- VI, 514:2, November 22.
Awards announced. -- New York Times -- 10:1, January 7.
Paintings exhibition. -- New York Times -- V, 11:13, January 10.
Poster exhibition. -- New York Times -- III, 2:5, March 28.
Thanksgiving dinner to east side waifs. -- New York Times -- 11:1, November 26.
Annual exhibition; Gold Medal and $1000 prize awarded to Ben Foster. -- New York Times -- 10:6, January 4.
Memorial services for W.B. Howland. -- New York Times -- 7:3, March 3.
Offers prizes for best patriotic medal, poem, and song. -- New York Times -- 9:14, April 6.
Offers prizes to promote expression of American patriotism in art. -- New York Times -- IV, 13:2, April 15.
H.A.W. Wood speaks at distribution of prizes. -- New York Times -- 11:3, May 31.
"Road to France," $500 prize offered for appropriate music. -- New York Times -- 13:2, June 9.
American Artists' War Emergency Fund Committee announces that art stamp will be sold to aid artists reduced in circumstances through the war. -- New York Times -- 13:6, July 10.
Offers prize of $500 for best musical setting for D.M. Henderson's "The Road to France." -- New York Times -- VIII, 9:3, August 12.
Prize for music for war song by D.M. Henderson is awarded to Signe Lund. -- New York Times -- 13:3, November 1.
Annual books exhibition. -- New York Times -- VIII, 686:1, November 23.
Comment on suggestion by G. Bellows that proposed members should possess some work by living American artist. -- New York Times -- III, 20:3, February 6.
Elects governors. -- New York Times -- 9:2, April 13.
Awards Agar prize to Christine Herter. -- New York Times -- 16:7, April 7.
Address by Ann Martin. -- New York Times -- 4:3, August 3.
Annual exhibition of books; I. Zangwill speaks; protest by member. -- New York Times -- 6:1, November 8.
Prize winners of annual exhibition. -- New York Times -- 4:15, January 10.
Honors J.G. Agar at dinner. -- New York Times -- 6:2, February 26.
Mural panels of Old NY used for New Year's fete to be put on exhibition. -- New York Times -- 29:1, January 4.
Announces prize winners at Members' Annual Exhibition. -- New York Times -- VIII, 11:2, January 18.
Murals depicting history of NYC, painted for New Years' ball, to be given to Museum of the City of New York. -- New York Times -- 25:4, February 3.
Exhibition of lithographs, woodcuts, and linoleum prints. -- New York Times -- VIII, 11:13, April 12.
Exhibition. -- New York Times -- 4:5, January 14.
Exhibition. -- New York Times -- 17:3, April 8.
Exhibition of photographs of recent buildings. -- New York Times -- VIII, 12:6, April 18.
15th century books brought from Germany by Dr. Otto H.F. Vollbehr on exhibition at the National Arts Club. -- New York Times -- 6:6, August 24.
15th century Book of Hours, worth $15,000, stolen from exhibition at National Arts Club. -- New York Times -- 1:2, August 26.
Feature article on exhibition. -- New York Times -- IV, 15:1, August 29.
Book of Hours mysteriously returned to Vollbehr by E.M. Garlock, attorney, acting for unnamed client who claims to have bought book from stranger. -- New York Times -- 19:1, September 12.
Editorial on return of book. -- New York Times -- 20:4, September 13.
21st annual book exhibit; addresses. -- New York Times -- 28:3, November 4.
History in connection with 20th anniversary celebration. -- New York Times -- VIII,18:6, November 7.
New Year's Eve costume ball. -- New York Times -- 15:3, January 1.
Exhibition of American paintings. -- New York Times -- 25:5, March 3.
Exhibition of etchings. -- New York Times -- IX, 10:4, December 11.
Exhibits. -- New York Times -- 30:2, January 12; -- New York Times -- IX, 13:2, January 29.
Awards in small painting exhibition. -- New York Times -- 27:2, February 10.
Exhibit. -- New York Times -- VIII, 15:3, February 12.
First exhibition of decorative arts. -- New York Times -- 28:4, March 15; -- New York Times -- IX, 15:4, March 18.
Exhibition. -- New York Times -- IX, 15:2, April 15.
J. Lie, P. Manship, and C. Beach win prizes. -- New York Times -- 25:3, January 11.
Annual members' exhibition. -- New York Times -- X, 18:4, January 27.
Exhibition of crafts. -- New York Times -- X, 15:6, December 8.
Prize awarded to D.C. Nisbet. -- New York Times -- 23:5, December 29.
Arts Club prizes announced. -- Art News -- 28:21, January 4.
Annual exhibition of painting and sculpture. -- New York Times -- VIII, 13:3, January 19.
Seventh annual exhibition. -- New York Times -- VIII, 13:1, February 16.
Annual junior art show. -- New York Times -- 3:5, March 15; -- New York Times -- X, 19:3, March 16.
Exhibition of prints by living American etchers. -- New York Times -- X, 18:1, December 14.
New York season; Living American Etchers. -- Art Digest -- 5:14, January 1.
M. Gregg Memorial Prize awarded to I.G. Olinsky; medal to H.W. Watrous. -- New York Times -- 34:6, January 10.
Exhibitions. -- New York Times -- VIII, 12:7, February 22.
Exhibition of Junior Artist Members. -- New York Times -- IX, 13:4, March 15.
Hold exhibition of portraits and other objects relating to history of Gramercy Park. -- New York Times -- II, 1:7 and 18:4, May 3.
Annual exhibition of paintings by members. -- New York Times -- 30:6, June 4.
Awards to R.D. Bowden $3000 prize, offered by J.G. Agar for best book on "The Soul of America." -- New York Times -- 20:6, June 8.
Annual exhibition of work by painter and sculptor members; prizes announced. -- New York Times -- 27:7, January 7.
Art Club prizes. -- Art Digest -- 6:10, January 15.
Forum on development of art talent in young artists. -- New York Times -- 13:8, January 18.
Arts Club prizes. -- Art News -- 30:20, January 23.
Opening. -- New York Times -- 16:7, February 4.
Prizes awarded to junior artists. -- New York Times -- 19:2, March 8.
Art auction totals $600. -- New York Times -- 19:5, April 14.
Members' exhibition of small paintings. -- New York Times -- 16:6, May 5.
National Arts Club book exhibition. E. Yost. -- Publishers Weekly -- 122:2382-3, December 31.
R. Nickerson, new member, wins medal at annual painting and sculpture show; other awards. -- New York Times -- 18:2, January 5.
Annual members' exhibition. -- New York Times -- 13:2, January 13; -- New York Times -- IX, 12:6, January 15.
National Arts club prizes. -- Art Digest -- 7:15, January 15; -- Art News -- 31:7, January 28 Celebrates 119th birthday of S.J. Tilden. -- New York Times -- 17:6, February 8.
Exhibition by junior artist members. -- New York Times -- 15:2, March 2.
Prizes for annual members' show announced. -- New York Times -- IX, 12:3, January 14.
Annual dinner. -- New York Times -- 17:4, January 18.
Prizes. -- Art Digest -- February 1, 8:19; -- Art Digest -- 8:13, May 15.
Memorial exhibition of eight of its deceased painter and sculptor members. -- New York Times -- IX, 12:6, February 4.
Junior members exhibit. -- New York Times -- 17:1, March 8; -- New York Times -- IX, 9:7, March 18; Prizes awarded. -- New York Times -- 22:8, March 22.
Annual members' show. -- New York Times -- 17:2, May 3; Awards, -- New York Times -- 21:1, May 8; -- New York Times -- IX, 7:7, May 13.
Awards given by Arts Club. -- Art News -- 32:4, June 2.
Rare book exhibition planned. -- New York Times -- 19:4, September 18; Exhibition. -- New York Times -- 17:1, September 19.
Annual exhibition of members' work opened. -- New York Times -- 17:5, January 10; -- New York Times -- 9:3, January 14.
Annual dinner; awards. -- New York Times -- 20:7, January 17.
Stag dinner; portrait of Victoria replaces painting of nude. -- New York Times -- 23:4, February 1.
Prizes, annual exhibition of painting and sculpture. -- Art Digest -- 9:21, February 1.
Members' annual exhibition. -- New York Times -- 18:2, February 8; -- New York Times -- VIII, 9:6, February 17.
Annual exhibition by junior artists. -- New York Times -- 18:5, March 9.
Arts Club plans a large bazaar. -- Art News -- 33:10, August 17.
Series of articles on traditions of club being written. -- New York Times -- II, 7:1, October 6.
Plans for annual book week. -- New York Times -- II and III, 8:5, October 13; exhibitors to be entertained by J.R. Gregg, president. -- New York Times -- 19:2, October 30.
To award two trips to Europe for mural decoration. New -- York Times -- 26:7, November 1; -- New York Times -- 19:5, November 14.
To hold "At Home" tea. -- New York Times -- II, 8:2, December 8.
Dinner. -- New York Times -- 14:8, December 11.
Annual members' exhibition. -- New York Times -- 19:6, January 9; -- New York Times -- 13:8, January 11; -- New York Times -- IX, 10:1, January 19.
Exhibition of modern textbooks. -- New York Times -- 17:7, February 6.
Announces winners of trips to Europe. -- New York Times -- 21:2, February 11.
Exhibition by neighboring organizations. -- New York Times -- IX, 8:1, April 12.
Summer exhibit from permanent collection. -- New York Times -- IX, 7:4, June 21.
Exhibition of contemporary books; authors' night. -- New York Times -- VI, 9:2, November 8.
Plans for children's matinee at annual book exhibition. -- New York Times -- VI, 7:2, November 8.
Women's open table plans dinner. -- New York Times -- 16:4, November 23.
Exhibition of Society of American Etchers. -- New York Times -- XII, 9:2, November 29.
Awards at members' exhibit. -- New York Times -- 24:3, January 27.
Exhibitions sponsored by Society of American Etchers. -- New York Times -- 21:3, February 3; -- New York Times -- X, 9:7, February 7.
Women's committee holds drama dinner. -- New York Times -- 13:1, February 15.
R.D. Kohn speaks, -- New York Times -- 25:7, March 11.
Jr. artists group exhibit. -- New York Times -- IX, 10:1, March 14; Awards. -- New York Times -- 23:6, March 25.
Photographic exhibition. -- New York Times -- X, 10:2, May 16.
Officers elected. -- New York Times -- 19:1, May 20.
H. Hamilton exhibit. -- New York Times -- IX, 6:7, September 26.
Book of the year exhibit. -- New York Times -- 23:6, November 4; -- New York Times -- VI, 4:3, November 28.
Mr. H.P. Crine elected life member. -- New York Times -- 9:1, November 28.
Members' exhibit. -- New York Times -- 28:3, December 9.
Women's Open Table plans. -- New York Times -- 11:2, January 17.
Members' annual exhibit. -- New York Times -- , January 18 26:2; -- New York Times -- IX,9:3, January 23; Awards. -- New York Times -- 22:2, January 27.
Members studio receptions planned. -- New York Times -- VI, 2:7, January 30.
Dinner honoring Dr. W. Damrosch. -- New York Times -- 12:5, March 7.
Exhibit by art groups near NYC. -- New York Times -- 20:8, March 28.
Group show. -- New York Times -- X, 8:2, April 17.
Viennese ball. -- New York Times -- 22:6, April 21.
J.F. Talcott elected president; D.E. Waid executive committee chairman. -- New York Times -- 21:6, November 19.
Victorian ball. -- New York Times -- 18:1, December 17.
Members' memorial exhibit. -- New York Times -- 15:1, January 13; -- New York Times -- IX, 9:2, January 22.
Members' painting and sculpture exhibit. -- New York Times -- IX, 9:2, February 5.
Jr. Members' lecture. -- New York Times -- 10:2, February 6.
Painting exhibit. -- New York Times -- 18:1, March 1; -- New York Times -- X, 10:2, March 5.
Jr. Members party planned. -- New York Times -- 50:3, March 5.
Exhibit of neighboring art organizations. -- New York Times -- 13:2, April 17.
Wild West party planned to benefit Jr. Members Scholarship Fund; to close 40th anniversary celebration. -- New York Times -- II, 2:8, April 23; -- New York Times -- II, 3:1, April 30.
Jr. Members plan New Year's Eve Olympian Ball. -- New York Times -- 30:2, December 19; -- New York Times -- II, 1:2, December 31.
Art by deceased life members to be sold. -- New York Times -- 17:2, January 5.
Group show; awards. -- New York Times -- 21:2, January 11.
Group show. -- New York Times -- 24:2, January 24; -- New York Times -- IX, 9:2, January 28.
Non-members exhibition. -- Art News -- 38:15, February 3.
Exhibits: ceramics. -- New York Times -- 17:4, February 16; Ceramics and flowers. -- New York Times -- 15:5, February 19; Ceramics. -- New York Times -- II, 5:2, February 25; Exhibits: Jr. members. -- New York Times -- IX, 10:2, April 14; Group show awards. -- New York Times -- 21: 5, April 25.
Pan-American Ball held. -- New York Times -- 21:5, April 20.
Fund campaign for refugee artists started. -- New York Times -- 8:2, July 31.
Establishes artist refugee fund. -- New York Times -- 19:1, August 1.
Benefit exhibit plans. -- New York Times -- 20:8, October 2; Exhibit. -- New York Times -- IX, 5:4, October 6.
County fair planned. -- New York Times -- II, 3:3, October 6.
Refugee artists show their work. -- Art News -- 39:10, October 12.
Annual book exhibit opens. -- New York Times -- 3:5, November 3.
Testimonial luncheon for foreign authors in U.S. -- New York Times -- 45:2, November 10.
National Arts Club dramatizes books at the 35th annual new books of the year exhibition. -- Publishers Weekly -- 138:2046, November 30.
Annual members' exhibit. -- New York Times -- 24:8, January 10; Comment. -- New York Times -- IX, 9:2, January 12; Awards. -- New York Times -- 24:6, January 23.
Annual prizes. -- Art Digest -- 15:13, February 1.
Benefits concerts planned. -- New York Times -- 39:1, February 23; -- New York Times -- 20:7, March 28.
Annual exhibit awards. -- New York Times -- 28:3, March 11; Comment. -- New York Times -- I, 10:3, March 16.
Group shows. -- New York Times -- IX, 10:1, March 30; -- New York Times -- IX, 8:2, May 25; -- New York Times -- X, 13:5, May 25; -- New York Times -- IX, 7:5, June 15.
Book exhibit. -- New York Times -- 1:6,November 9.
Group show. -- New York Times -- X, 10:1, January 18.
Group show. -- New York Times -- 14:4, February 4; Private preview. -- New York Times -- 15:4, February 5; Comment. -- New York Times -- IX, 9:6, February 8.
Jr. members to honor servicemen at Hallowe'en party. -- New York Times -- 16:3, October 30.
37th annual show of new books. -- Publishers Weekly -- 142:2044, November 14.
To sponsor Chinese and Indian art exhibit in NYC. -- New York Times -- VIII, 9:1, December 13; Exhibit. -- New York Times -- 42:5, December 17.
Holds Xmas fair. -- New York Times -- 13:3, November 16.
Contemporary American painting exhibit planned. -- New York Times -- 23:6, February 20.
Jr. members and young non-members exhibition. -- Art News -- 45:67, May.
Annual book show plans. -- New York Times -- 21:2, November 1; Show, W.L. Laurence speaks. -- New York Times -- 13:1, November 12.
Annual book show. -- Publishers Weekly -- 150:2731, 2718, November 9.
Packaging the book. P. Boswell. -- Art Digest -- 21:3, November 15.
Choosing best book jackets, 41st annual book show. -- Art News -- 45:8, December.
Preview exhibit. -- New York Times -- 21:5, January 9.
Forming symphony orchestra. -- New York Times -- 27:1, September 19.
Ninth annual exhibition of American Veterans Society of Artists. -- Art Digest -- 22:19, January 1.
Conservatives score at the 50th annual exhibition of painting and sculpture. -- Art Digest -- 22:17, February 1.
Fiftieth annual exhibition. -- Art News -- 47:49, March.
Book fair opens in NYC. -- New York Times -- 30:7, December 9.
Summer annual. -- Art Digest -- 23:14, August.
Dinner honors Mrs. F.D. Roosevelt. -- New York Times -- 39:5, October 11.
Fifty-second annual exhibition of oils and sculptures. -- Art Digest -- 24:12, January 15.
Members' summer exhibition. -- Art Digest -- 24:18, August.
Fair plans. -- New York Times -- 44:8, November 1.
Members-guests annual. -- New York Times -- II, 19:1, January 14.
53rd Annual Exhibition. -- Art Digest -- 25:18, January 15; -- Art News -- 49:47, February.
Non-members annual. -- New York Times -- 21:5, March 30.
Open competition for non-members. -- Art Digest -- 25:18, April 15.
Summer painting exhibition series opens. -- New York Times -- 42:8, June 7.
Members work. -- New York Times -- II, 6:4, June 17.
Summer exhibition. -- Art Digest -- 25:19, July.
Fifty-fourth annual exhibition. -- Art Digest -- 26:19, January 15; -- Art News -- 49:47, February.
Members and guests annual. -- New York Times -- 59:2, January 6; Awards. -- New York Times -- 16:2, January 17.
Watercolor annual; awards. -- New York Times -- 14:4, February 8; -- Art News -- 51:56, March.
Non-members painting annual; awards. -- New York Times -- 16:5, March 10; -- New York Times -- 27:3, March 13.
Small pictures by members; awards. -- New York Times -- 25:5, April 9.
Exhibition of small oils. -- Art Digest -- 26:18-19, April 15; -- Art News -- 49:47, February.
Theatre in an art gallery. A. Scheff. -- Theatre Arts -- 37:92, January.
Members-guests annual; awards. -- New York Times -- II, 11:2, January 11.
Non-members painting annual; awards. -- New York Times -- 21:5., February 19.
Members work; awards. -- New York Times -- II, 13:2, May 10; -- New York Times -- II, 8:5, June 21.
Painting and sculpture annual by members and guests. -- New York Times -- 25:5, January 26.
Fifty-sixth annual exhibition. -- Arts Digest -- 28:17, February 1.
Members and non-members annual; contemporary watercolors; awards. -- New York Times -- 27:5, February 11; Review. -- New York Times -- II, 14:2, February 14.
Grand national annual members' competition. -- Art News -- 53:63, May.
Painting and sculpture annual; awards. -- New York Times -- 23:1, January 12.
Fifty-sixth annual exhibition. -- Arts Digest -- 28:17, February 1.
Paintings annual; awards. -- New York Times -- 18:4, March 1.
Annual exhibition of American oil paintings. -- Art Digest -- 29:26, March 15.
Poet P. MacKaye honored on 80th birthday. -- New York Times -- 28:2, March 16.
Arts Club honors Neuman; WNYC. C. Durgin. -- Musical America -- 77:12, April.
Art Clubs of America. -- Artist -- 53:67, June.
At founding [sixtieth anniversary]. -- New York Times -- 49:2, November 27.
First annual metropolitan young artists show; awards. -- New York Times -- 49:2, November 27
Stadium Concerts founder Mrs. C.S. Guggenheimer gets scroll from Mayor Wagner and National Arts Club medal. -- New York Times -- 9:2, March 12.
Tenor competition awards. -- New York Times -- 47:8, November 15.
The National Arts Club donated its records to the Archives of American Art in 1987. Although a limited amount of printed matter was available at various libraries and on microfilm through the Archives of American Art, scholars have not had access to unpublished records of the Club until this time.
In November 2017 an addition to the Officers' Correspondence was donated by Elizabeth G. Knudsen, granddaughter of Edmund Greacen, former Arts Committee Chair.
The collection is open for research. Patrons must use microfilm copy.
The National Arts Club 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.
The records of Milch Gallery measure 42.5 linear feet and date from 1911-1995. Edward Milch (1865-1953) opened the Edward Milch Gallery in New York City. In 1916, he formed a partnership with his brother Albert Milch (1881-1951), a gilder and framer, creating E. & A. Milch, Inc., a gallery specializing in American art. Harold C. Milch (1904-1981), Albert's son, was appointed a partner in 1944 and continued the business until his death. Business records of Milch Gallery, 1911-1968, include correspondence, sales records, inventories, financial records, printed matter, photographs, and legal documents. Later additions to the records date from 1922-1995 and include correspondence; artists' files; financial, sales, and stock records; printed material; and photographs.
Scope and Content Note:
The records of Milch Gallery document the business transactions of the corporation and the professional and personal relationships of the Milch brothers with the artists they represented, as well as with the larger community of artists and art dealers between 1911 and 1995. Unfortunately, early correspondence is sparse. In a letter responding to a 1951 request for historical information, Milch replied: "Several years ago  we had to give up our gallery at 108 West 57th Street, and move to smaller quarters here. Since we had no room for old records, we had to destroy most of them."
Alphabetical files are comprised mainly of incoming correspondence from 1911 to 1962. Correspondence concerns arrangements for exhibitions, sales and consignments, advice to collectors and executors of estates, and routine business matters. A number of the artists represented in these files were friends of the Milch brothers and some of their letters mention their personal lives as well as their formal business with the Gallery. Collectors who routinely dealt with Milch Galleries included John Gellatly, Mary Blair, Hersey Egginton, Carlton Palmer, and Edward Coykendell; a three volume manuscript catalogue of Coykendell's collection is included. Among the estates handled by Milch were Willard Metcalf, John Twachtman, Abbott H. Thayer, Maurice Fromkes, and Thomas Moran.
Also found are sales records and other financial records such as general ledgers, sales and purchase records, and tax information.
Printed matter consists of gallery exhibition catalogs, checklists, invitations, announcements, publications, and scrapbooks. Many catalogs and checklists are annotated with prices and other information. A complete run of Milch Galleries Art Notes, issued intermittently from 1918-1928/29 is preserved with the gallery records. as is a scrapbook relating to early exhibitions held at the Edward Milch Galleries and E. & A. Milch, Inc., and artists represented by them.
Photographs included with the records are less voluminous than might be expected, and pictures of works of art predominate. There are also a very small number of exterior and interior photographs of Milch Gallery, photographs of people including artists, Edward and Albert Milch, and photographs of groups such as Ten American Artists and the Associated Dealers in American Paintings.
The 1995 and 2014 additions measure 3 linear feet and date from 1922-1995. Milch Gallery activities are documented through correspondence; artists' files; financial, sales, and stock records; printed material; and photographs.
See Appendix for a list of Milch Gallery exhibitions and checklists
Records of the Milch Gallery are organized into seven series. With the exception of the alphabetical files, records are arranged by record type and then chronologically. Photographs are categorized by subject, with pictures of individuals arranged alphabetically by name, and works of art arranged alphabetically by artist.
Series 1: Alphabetical Files, 1911-1962
Series 2: Sales Records and Inventories, 1911-1969, undated
Series 3: Financial Records, 1914-1980, undated
Series 4: Printed Matter, 1996, 1910-1967, undated
Series 5: Photographs, 1903-circa 1944, undated
Series 6: Miscellaneous, 1916-1970, undated
Series 7: Addition to the Milch Gallery Records, 1922-1995 (Boxes 60-65, 3 linear feet)
Between 1911 and 1916, prior to the establishment of the Milch Galleries, Austrian immigrant Edward Milch (1865-1953) operated the Edward Milch Galleries at 939 Madison Avenue 1911, mainly handling prints and providing framing services.
Albert Milch (1881-1951) was employed by a gilder and later a picture framer before becoming the business partner of his older brother. In 1916 they incorporated as E. & A. Milch (with Edward as President and Albert as Secretary of the corporation) and opened the Milch Galleries at 108 West 57th Street, New York City. During their partnership, Edward served as President and Albert as Secretary of the corporation. According to Joseph Gotlieb, a long-time employee, during this period Montross Gallery became inclined toward modern French art and the American artists associated with them began searching for galleries more sympathetic to their interests. "As Albert Milch was a framemaker to several of them, and as he was opening a new gallery in 1916 to specialize in American Art, some artists decided to let the Milch Galleries, and others, handle their work. It turned out to be a good arrangement for both sides, and a successful one" (letter from Joseph S. Gotleib to Susan Hobbs [National Museum of American Art], December 30, 1977).
From the beginning, Milch Galleries dealt in American art almost exclusively, representing living artists, handling the estates of recently deceased artists; in addition they acquired nineteenth century works for resale and accepted pieces on commission. Although framing and restoration services continued to be offered to customers, this aspect of the business soon diminished in importance.
Harold C. Milch (1904-1981), Albert's son, was affiliated with the business, and upon his father's retirement was appointed partner; after Albert died in 1951, Harold was sole proprietor, serving as both President and Secretary.
Milch Galleries moved to smaller quarters at 55 East 57th Street in 1947, and ten years later to 21 East 67th Street. In 1967, the name was changed to Milch Gallery and the business relocated to 1014 Madison Avenue. The gallery dissolved upon the death of Harold Milch. A third brother, David C. Milch, was also an art dealer, but was not associated with Milch Gallery.
1911 -- Edward Milch Galleries opens at 939 Madison Ave.
1912 -- First exhibition at Edward Milch Galleries
1916 -- Incorporation of E. & A. Milch; Edward Milch, President, and Albert Milch, Secretary; change of name to Milch Galleries and relocation to 108 West 57th St.
1918 -- Milch Galleries Art Notes begins publication
1944 -- Edward Milch retires; Albert Milch President, and Harold C. Milch [son of Albert], Secretary
1947 -- Milch Galleries moves to 55 East 57th St.
1951 -- Death of Albert Milch (1881-1951); Harold C. Milch, President and Secretary
1953 -- Death of Edward Milch (1865-1953)
1957 -- Milch Galleries moves to 21 East 67th St.
1966 -- Archives of American Art begins acquiring records of the Milch Galleries (gifts and loans from Milch Galleries)
1967 -- Relocation to 1014 Madison Ave., and name change to Milch Gallery
1981 -- Death of Harold C. Milch (1904-1981)
1986 -- Archives of American Art receives the bulk of Milch Gallery records (gift of Salander-O'Reilly Galleries)
Appendix: List of Milch Gallery Exhibitions and Checklists:
Items marked with an asterisk (*) are contained in the scrapbook rather than with the Milch Gallery exhibition catalogs.
Nov. 16-Dec. 7, 1912* -- Exhibition of 300 Original Sketches in Oil by 100 Well Known American Artists
Feb. 15-March 8, 1913* -- Glimpses of Nature We Love to See, Feast, and Dwell On
April 28-May 7, 1913* -- Portraits of Children and Grown-Ups by Miss Susan Ricker Knox
Oct. 18-Nov. 1, 1913* -- Small Paintings and Bronzes
Oct. 18-Nov. 1, 1913* -- Exhibition of Paintings and Sculptures by Noted American Artists
Feb. 9-21, 1914* -- Paintings by W. Herbert Dunton of The Old West
Oct. 17-31, 1914* -- Portraits in Oil, Miniatures, and Sculpture
Feb. 20-March 7, 1915* -- Paintings and Etchings by Gordon Mallet McCouch
April 26-May 8, 1915* -- Paintings by Frew W. Kost, N.A.
Nov. 7-19, 1915 -- Paintings and Sculpture by Matilda Browne
Nov. 15-30, 1915* -- Views of the Panama California Exposition and Landscapes of Southern California
Jan. 31-Feb. 12, 1916 -- Paintings by Garber, Pearson, Lathrop, and Spencer
Feb. 14-26, 1916* -- Landscapes by Walter Clark, N.A.
Feb. 14-26, 1916* -- Paintings by Guy Wiggins
Nov. 4-18, 1916* -- Opening Exhibition
Nov. 25-Dec. 9, 1916* -- Works by the Late Louis Loeb
Jan. 15-27, 1917* -- Paintings by Helen M. Turner
Jan. 30-Feb. 10, 1917* -- Paintings by Leonard Ochtman, N.A.
Feb. 14-24, 1917* -- Recent Paintings by William V. Schevill
March 6-24, 1917 -- Ten American Painters
March 13-24, 1917* -- George Bellows
March 14-24, 1917* -- Paintings by Frederick J. Waugh
March 26-April 7, 1917* -- Paintings by Howard Russell Butler, N.A.
April 10-21, 1917 -- Paintings by Harry F. Waltman and Howard Giles, and Sculptures by Willard D. Paddock
April 15-27, 1917* -- Paintings by Valentino Molina
April 24-May 5, 1917* -- Paintings by Thalia Millet
Oct. 27-Nov. 17, 1917* -- William Jean Beauley
Jan. 15-Feb. 15, 1918* -- Etchings, Dry-Point and Lithographs by Ernest Haskell
Jan. 28-Feb. 4, 1918 -- Sketches and Paintings by the "Nova Scotia Group"
Feb. 25-March 16, 1918* -- Paintings by Robert Henri
March 13-24, 1918 -- George Bellows
March 22-April 4, 1918* -- Paintings by H. Gabrielle Levey
April 8-, 1918* -- Etchings by Allen Lewis
Nov. 25-Dec. 16, 1918* -- Paintings by Edward H. Potthast, N.A.
Dec. 18-Jan. 16, 1918 -- Annual Holiday Exhibition of Selected Paintings of Limited Size by American Artists
Dec. 23-Jan. 10, 1919* -- Etchings and Dry-Points by Ernest Haskell
Jan. 13-25, 1919* -- Paintings by Mary Prindeville
Jan. 27-Feb. 13, 1919* -- With the A.E.F., Paintings and Drawings Made at the Front by S. J. Woolf
Feb. 14-26 [1919?]* -- Paintings by Arthur C. Goodwin
Feb. 18-March 1, 1919* -- Paintings by Jerome Myers
March 3-16, 1919* -- Recent Paintings of California by William Ritschel, N.A.
March 17-29, 1919 -- Recent Paintings by Lillian Genth, A.N.A.
March 28-April 9, 1919* -- Drawings of New York City by Peter Marcus
April 8-30*, 1919 -- Paintings by Leading American Artists
April 19-May 1*, 1919 -- Paintings by Valentino Molina
May 3-22, 1919 -- Recent American Sculpture
May 5-17*, 1919 -- Recent American Sculpture in Bronze, Wood, and Terra Cotta for the Town and Country House, the Grounds, and Garden
May 20-, 1919 -- Flag Pictures and Street Scenes by Childe Hassam
Nov. 16-Dec. 6, 1919 -- Childe Hassam
Nov. 17-Dec. 6, 1919 -- Exhibition of Works in the Various Mediums by Childe Hassam
Dec. 18-Jan. 16, 1920 -- Annual Holiday Exhibition of Selected Paintings of Limited Size by American Artists
Dec. 29-Jan. 15, 1920* -- Portraits and Other Paintings by Royston Nave
Feb. 2-14, 1920 -- George Biddle
Feb. 2-14, 1920* -- Oil Paintings, Water Colors, Pastels, Monotypes, Silver-Points and Etchings by George Biddle
Feb. 16-28, 1920* -- Paintings by Ossip L. Linde
March 1-12, 1920 -- Bruce Crane
March 1-13, 1920 -- Bruce Crane, A.N.A.
March 15-April 3, 1920 -- Willard L. Metcalf
April 5-20, 1920 -- Paintings
April 8-30  -- Exhibition of Paintings by Leading American Artists
April 15-May 1, 1920 -- Valentino Molina
Oct. 18-30 [1920?]* -- Paintings of New England and Drawings of the Devastated Towns of Flanders by George Wharton Edwards
Nov. 1-13, 1920 -- Six American Painters [Clark, Potthast, Snell, Nichols, Olinsky, and Volkert
Nov. 1-15, 1920 -- Paintings by Theresa F. Bernstein
Nov. 15-27, 1920 -- Childe Hassam
Nov. 21-Dec. 3, 1920* -- Sculpture by Gleb Derujinsky
Dec., 1920* -- Exhibition by George Biddle
Dec. 1-21, 1920 -- Etchings and Color Etchings by William Meyerowitz
Dec. 27-Jan. 28, 1921 -- Albert Delbert Smith
circa 1920 -- Ossip L. Linde
circa 1920 -- William Meyrowitz
circa 1920 -- Exhibition
Jan. 10-29, 1921 -- Exhibition of Paintings by Brush, Crane, Dewing, Metcalf, Hassam, and Murphy
Jan. 31-Feb. 12, 1921 -- American Art
Feb. 14-26, 1921 -- Guy Wiggins
Feb. 14-26, 1921 -- Arthur G. Goodwin
Feb. 28-March 12, 1921 -- Paintings by Robert Henri
March 14-April 9, 1921 -- Paintings by Gari Melchers
March 28-April 9, 1921 -- Peter Marcus
April 11-23, 1921* -- Portraits and Figure Paintings by Edith Catlin Phelps
April 11-30, 1921 -- Paintings by Willard Metcalf
May 2-30, 1921 -- American Sculpture for the Town and Country House, the Garden, and the Grounds
Oct. 18-30 [1921?]* -- Paintings and Drawings by George Wharton Edwards
Oct. 24-Nov. 5, 1921 -- Portraits and Paintings of Old New Orleans by Wayman Adams
Nov. 7-19, 1921 -- Flower Paintings and Sculpture by Mathilde Browne
Nov. 7-19, 1921 -- Paintings in Oil and Water Color by George H. Clements
Nov. 19-Dec. 3, 1921 -- Sculpture-Gleb Derujinsky
Dec. 5-31, 1921 -- Works by Abbott H. Thayer, Including Important Paintings, Water Colors, and Drawings
circa 1921 -- Exhibition
Jan. 9-21, 1922 -- Paintings by Katherine Langhorne Adams
Jan. 9-21, 1922 -- Paintings of California by Douglass Ewell Parshall
Feb. 13-March 4, 1922 -- Paintings of Cape Ann by Harry A. Vincent, A.N.A.
March 6-25, 1922* -- Pastels of the Cascapedia River, Canada, by Arthur C. Goodwin
March 6-25, 1922 -- Connecticut Landscape Paintings by Wilson Irvine
March 27-April 15, 1922* -- Moonlight Motifs: Garden of the Gods, Colorado and Other Paintings by Robert Reid, N.A.
Dec. 26-Jan. 13, 1923 -- Paintings and Pastels by Henry C. White
Jan. 15-27, 1923* -- Paintings of Spain by William J. Potter
Jan. 29-Feb. 10, 1923 -- Water Colors of the South Sea Islands by William Ritschel, N.A.
Feb. 12-March 3, 1923 -- Paintings by Willard L. Metcalf
March 5-31, 1923 -- Paintings of the Far East by Leon Gaspard
March 19-31, 1923* -- Landscape Paintings by Guy Wiggins, A.N.A.
April 2-21, 1923* -- Portrait Drawings by Ercole Cartotto
April 19-May 6, 1923 -- Paintings by Leading American Artists
Oct. 1-20, 1923 -- Paintings by Sidney E. Dickinson, A.N.A.
Oct. 22- Nov. 3, 1923 -- Paintings and Sculpture by Mathilda Brown (Mrs. Frederick Van Wyck)
Nov. 5-17, 1923 -- Memorial Exhibition of Paintings by William Gedney Bunce
Dec. 11-23, 1923* -- Water Colors by James Montgomery Flagg
Jan. 14-26, 1924 -- Exhibition of Nudes, Portraits, Landscapes and Genre by Eugene Paul Ullman
Feb. 18-March 8, 1924 -- Paintings by Willard L. Metcalf
March 27-April 5, 1924 -- Connecticut Landscapes by Guy Wiggins, A.N.A.
Dec. 1-27, 1924 -- Maurice Fromkes
Jan. 5-17, 1925 -- Paintings of the Pacific Coast by Armin Hansen
Jan. 19-31, 1925 -- Martha Walter
Feb. 16-March 7, 1925 -- Willard L. Metcalf
March 9-21, 1925 -- John Noble
March 23-April 11, 1925 -- Bruce Crane
May 4-16, 1925 -- Brynjulf Strandenaes Exhibition of Portraits
May 18-30, 1925 -- Paintings by Robert Brackman
Dec. 7-31, 1925 -- Paintings by the Late Willard Metcalf
Dec. 7-21, 1925 -- Sketches by Dorothea A. Dreier,
Jan. 11-23, 1926 -- Recent Landscape Paintings by Frank V. Du Mond
Jan. 25-Feb. 13, 1926 -- Smaller Paintings by Max Bohm
Feb. 15-March 6, 1926 -- Paintings of the Sea by William Ritschel
April 13-May 2, 1926 -- Jonas Lie
April 26-May 15, 1926 -- Landscapes and Street Scenes by William Jean Beauley
Nov. 15-27, 1926 -- California Marine Paintings and Water Colors by Armin Hansen
Nov. 29-Dec. 18, 1926 -- Water Colors by Frank W. Benson
Nov. 29-Dec. 18, 1926 -- Silver-Point Drawings by Ercole Cartotto
Jan. 10-22, 1927 -- Portraits by Millie Bruhl Frederick (Mrs. Leopold Fredrick)
Jan. 24-Feb. 12, 1927 -- Paintings of Cornwall and Devonshire by W. Elmer Schofield
Jan. 24-Feb. 12, 1927 -- Etchings by Teresa Cerutti Simmons, Watercolors by Will Simmons
Feb. 14-March 5, 1927 -- Sculpture by Heinz Warneke
March 28-April 16, 1927 -- Paintings by Henry Golden Dearth
April 18-30, 1927 -- Decorative Flower Paintings by Olin Howland
April 18-30, 1927 -- Recent Water Colors by John Whorf of Boston
Oct. 10-28, 1927 -- Decorative Embroideries by Georgiana Brown Harbeson
Nov. 14-26, 1927 -- Pastels and Etchings of Cambodia and China by Lucille Douglass
Nov. 28-Dec. 24, 1927 -- Works by Gari Melchers
Nov. 28-Dec. 24, 1927 -- Sculpture by Max Kalish
Dec. 26-Jan. 14, 1928 -- Water Color Exhibition of West African Native Types by Erick Berry; Also a Group of West African Pottery and Brass Figures Made by the Natives of Nigeria
Dec. 29-Jan. 14, 1928 -- Paintings by Joacb Dooyewaard
Jan. 14-26, 1928 -- Decorative Paintings by Jane Peterson
Feb. 7-April 29, 1928 -- Alfred Hutty
Feb. 13-25, 1928 -- Water Colors by Alice Judson
March 12-24, 1928 -- Etchings of Ancient Dances by Teresa Cerutti-Simmons and Wild Life by Will Simmons
March 12-24, 1928 -- An Important Exhibition of Paintings and Pastels by John H. Twachtman
March 12-24, 1928 -- Sculpture by Heinz Warnecke
March 26-April 14, 1928 -- Water Colors by John Whorf
April, 1928 -- Water Colors by William Ritschel, N.A.
April 15-May 5, 1928 -- Portrait Drawings in Pastel by Jessie Voss Lewis
Oct. 22-Nov. 3, 1928 -- Water Colors of France and Italy, and Etchings by Louis Wolchonok
Oct. 22-Nov. 3, 1928 -- Poetic Landscapes with Figures by Henry M. Rosenberg of Nova Scotia
Nov. 19-Dec. 1, 1928 -- Water Colors by Frank W. Benson
Nov. 19-Dec. 1, 1928 -- Water Colors of Architectural Subjects in France, Also Landscape and Figures by William de Leftwick Dodge
Dec. 1-28, 1928 -- Alfred Hutty
Dec. 3-24, 1928 -- Important Exhibition of Early and Recent Works by Childe Hassam of the American Academy of Arts and Letters
Dec. 3-24, 1928 -- Still Life Paintings by Ruth Payne Burgess
Dec. 20-Jan. 8, 1929 -- Drawings by Frank di Gioia
Dec. 20-Jan. 8, 1929 -- Memorial Exhibition, Water Color Sketches by Thomas Moran, N.A.
Dec. 27-Jan. 14, 1929 -- Erick Berry
Dec. 27-Jan. 14, 1929 -- Helen K. McCarthy Memorial Exhibition
Dec. 29-Jan. 14, 1929 -- Paintings by Jacob Dooyewaard
circa 1928 -- Indian and Animal Pictures and Bronzes by Edwin Willard Deming
Jan. 28-Feb. 9, 1929 -- Painitings of Western Life by F. Tenney Johnson
Jan. 28-Feb. 9, 1929 -- Paintings and Water Colors by Alice Judson
Feb. 11-23, 1929 -- Paintings and Drawings by Max Bohm
Feb. 11-23, 1929 -- Landscapes and Marines by Jay Connaway
Feb. 25-March 9, 1929 -- Water-Colors by Harold Putnam Browne
Feb. 25-March 9, 1929 -- Paintings by Truman Fassett
March 11-23, 1929 -- Recent Water Colors by C.E. Polowetski
March 11-23, 1929 -- Louis Ritman
March 25-April 6, 1929 -- Landscapes by Frank Vincent Du Mond
March 25-April 6, 1929 -- Water Colors by Armin Hansen of California
March 25-April 6, 1929 -- Sculptures by Roy Sheldon
April 8-20, 1929 -- Water Colors by John Whorf, Distinguished Young Boston Artist
Oct. 21-Nov. 2, 1929 -- Corners in Spain, An Exhibition of Paintings by Wells M. Sawyer
Nov. 4-17, 1929 -- Recent Sculpture by Heinz Warnecke
Nov. 4-16, 1929 -- Paintings of Ireland and Other Scenes by Power O'Malley
Nov. 18-30, 1929 -- Group of Recent Paintings by Hayley Lever
Nov. 18-30, 1929 -- Recent Water Colors and Etchings by Louis Wolchonok
Dec. 2-21, 1929 -- Paintings by Maurice Fromkes
Jan. 30-Feb. 11 [192?] -- Water Colors of Greek Temples in Sicily by Wm. De Leftwich Dodge
Feb. 2-15 [192?] -- Figure Paintings by Murray Bewley
March 15-April 3 [192?] -- Paintings by Willard L. Metcalf
March 28-April 16 [192?] -- Paintings by Henry Golden Dearth
April 2-21 [192?] -- Landscape Paintings by Bruce Crane, N.A
Oct. 17-29 [192?] -- Water Colors of the Rivera by Ferris Connah
Oct. 18-30 -- Paintings and Drawings by George Wharton Edwards
Oct. 25-Nov. 13 [192?] -- Recent Landscapes by John F. Carlson, N.A.
Oct. 25-Nov. 13 [192?] -- John F. Carlson
[192?] -- Indian and Animal Pictures and Bronzes by Edwin Willard Deming
Nov. 19-Dec. 1 [192?] -- Water Colors of Architectural Subjects in France, also Landscape and Figures by William De Leftwich Dodge
Jan. 20-Feb 1, 1930 -- West African Water Colors by Erick Berry
Jan. 20-Feb. 1, 1930 -- Paintings by Nelson C. White
Feb., 1930 -- Thelma Wood
Feb. 3-15, 1930 -- Paintings by Horace Brown
Feb. 17-March 1, 1930 -- Paintings by Francis Speight
Feb. 17-March 1, 1930 -- Paintings by Ruth Payne Burgess
March 3-15, 1930 -- Paintings by John Noble
March 17-29, 1930 -- Russian Paintings by Irwin D. Hoffman, Also a Group of Recent Watercolors
March 17-29, 1930 -- Alexander Warshawsky
March 31-April 12, 1930 -- Memorial Exhibition, Paintings and Watercolors of Sigurd Skou
March 31-April 12, 1930 -- Emmanuel Andrew Cavacos
April 14-26, 1930 -- Water Colors by John Whorf
Oct. 20-Nov. 1, 1930 -- Recent Paintings of Lake Como by Charles Warren Eaton
Nov. 3-15, 1930 -- Pastels and Etchings of Angkor and the Far East by Lucille Douglass
Nov. 17-29, 1930 -- Joseph Szekely
Nov. 17-29, 1930 -- Important Exhibiton of Paintings by a "Group of Americans"
Dec. 1-13, 1930 -- Diana Thorne and Canine Portraiture
Dec. 1-13, 1930 -- Recent Paintings of Ireland by Power O'Malley
Dec. 1-13, 1930 -- Paintings by Charles M. Cox of Boston
Jan. 19-31, 1931 -- Portraits by Jere R. Wickwire
Jan. 20-Feb. 1, 1931 -- Nelson C. White
Jan. 24-Feb. 7, 1931 -- Pastels and Etchings of Angkor and the Far East by Lucille Douglass
Feb. 2-24, 1931 -- Recent Paintings by Lillian Gentle
Feb. 2-24, 1931 -- Impressions of India and Palestine by Ruth Coleman
Feb. 16-28, 1931 -- Watercolors of Vermont Scenes and Other Views by Ruth Payne Burgess
Feb. 16-28, 1931 -- Martha Walter Recent Work in Oil and Watercolor
March 2-14, 1931 -- Recent Paintings by Alice Judson
March 2-28, 1931 -- Paintings & Drawings by Gari Melchers
March 16-28, 1931 -- Recent Watercolors by Harold Putnam Brown
March 30-April 11, 1931 -- Paintings by Louis Kronberg
March 30-April 11, 1931 -- Watercolors by John Whorf
April 13-25, 1931 -- Americans by American Artists, Exhibition of Portraits
April 13-25, 1931 -- Louis Kronberg
April 13-25, 1931 -- Portraits and Crayon Heads by Ferris Connah
April 13-May 2, 1931 -- Abbott H. Thayer
Sept. 22-Oct. 6, 1931 -- Water Colors by Gladys Brannigan, Alice Judson, Margery Ryerson
Oct. 19-30, 1931 -- Portraits by William Steene
Nov. 2-7, 1931 -- Portraits and Sketches by Maria Kammerer under the Patronage of Countess Laszlo Szechenyi
Nov. 9-21, 1931 -- Paintings by Bessie Lasky
Nov. 23-Dec. 5, 1931 -- Recent Oils, Water Colors and Etchings by Joseph Margulies
Dec. 7-21, 1931 -- Recent Paintings by George Wharton Edwards
Dec. 7-19, 1931 -- Paintings and Etchings of African and American Big Game by Major A. Radclyffe Dugmore
Dec. 7-19, 1931 -- Watercolors of Yucatan, "Land of the Mayas" by William de Leftwich Dodge
Dec. 20-Jan. 8, 1932 -- Water Colors of the Yellowstone and Mexican Series by Thomas Moran, N.A.
Jan. 11-23, 1932 -- Paintings, Watercolors and Etchings of Animals by Sybilla Mittell Weber
Jan. 25-Feb. 6, 1932 -- Paintings by George Oberteuffer, Member of the Salon d'Automne, Paris
Feb. 8-March 5, 1932 -- Important 19th and 20th Century American Painters
March 7-19, 1932 -- Paintings by Mrs. B. King Couper
March 7-19, 1932 -- Drawings by Maurice Sterne, Ernest Fiene, Alexander Brook, yasuo Kuniyoski, Bernard Karfiol, Peggy Bacon, and Leon Kroll
March 28-April 9, 1932 -- Watercolors by John Whorf
April 11-30, 1932 -- Forty Years of American Art
Oct. 3-15, 1932 -- New Paintings by American Artists
Oct. 19-Nov. 5, 1932 -- Paintings by Stephen Etnier
Nov. 7-30, 1932 -- Paintings by Edward Bruce
circa 1932 -- Recent Paintings by Stephen Etnier
Jan.30-Feb. 25, 1933 -- Important Exhibition of Paintings by Thomas Eakins
March 6-25, 1933 -- 19th and 20th Century Watercolors
March 27-April 14, 1933 -- Paintings by Francis Speight
April 17-May 6, 1933 -- Water Colors by John Whorf
May 15-31, 1933 -- 19th Century American Landscape Artists
Nov. 27-Dec., 1933 -- Water Colors by Emil Holzhaur
Feb. 26-March 17, 1934 -- Paintings by Stephen Etnier
March 19-April 7, 1934 -- Water Colors by John Whorf
April 16-May 5, 1934 -- Bali Studies by Maurice Sterne
June-Aug., 1934 -- Paintings by American Artists
Sept., 1934 -- Paintings by American Artists
Oct. 15-Nov. 3, 1934 -- New and Recent Paintings by American Artists
Nov. 5-21, 1934 -- Paintings by Sidney Laufman
Nov. 26-Dec., 1934 -- Recent Vermont Landscapes by Edward Bruce
circa 1934 -- American Figure Paintings of the 19th and 20th Century
Jan. 7-26, 1935 -- Paintings and Watercolors from the Samuel Halpert Estate
Feb. 4-28, 1935 -- Small Paintings by 19th and 20th Century American Artists
March 4-22, 1935 -- Recent Paintings by Stephen Etneir
March 25-April 13, 1935 -- Water Colors by John Whorf
April 22-May 11, 1935 -- Figure and Landscape Studies by Leon Kroll
May 20-June, 1935 -- Group Exibhition of Paintings
Summer, 1935 -- Paintings by American Artists
Oct. 1-26, 1935 -- Paintings by Childe Hassam
Oct. 28-Nov. 16, 1935 -- Watercolors by Millard Sheets
through Dec., 1935 -- Paintings by Americans
Jan. 1936 -- Paintings by Americans
Feb. 3-29, 1936 -- Important Exhibition of 19th and 20th Century American Painters
March 2-21, 1936 -- Stephen Etnier
March 30-April 19, 1936 -- Watercolors by John Whorf
May 18-June, 1936 -- Paintings by American Artists
Summer, 1936 -- Paintings by American Artists
September, 1936 -- Paintings by American Artists
Oct. 12-31, 1936 -- Contemportary Viewpoint
through Nov. 30, 1936 -- 19th and 20th Century American Figure Paintings
circa 1936 -- Landscapes--Contemporary Viewpoint
Jan. 11-30, 1937 -- Selected Landscapes
Feb., 1937 -- Contemporary American Sculpture
March 15-April 3, 1937 -- Watercolors by Millard Sheets
April 12-30, 1937 -- John Whorf
April 27-May 16, 1937 -- Maurice Sterne
May, 1937 -- Paintings by American Artists
Summer, 1937 -- Paintings
Oct. 1-15, 1937 -- Recent Watercolors
Oct. 18-Nov. 6, 1937 -- Paintings by Lucille Blanche
Nov. 8-30, 1937 -- Paintings by American Artists
Dec. 6-24, 1937 -- Watercolors by Lester Field
Jan. 3-22, 1938 -- Recent Paintings by Stephen Etnier
Jan. 24-Feb. 5, 1938 -- Paintings by Margaret Cooper
Feb. 7-26, 1938 -- Colonial Portraits
March 7-26, 1938 -- Recent Oils and Watercolors by Millard Sheet
April 4-23, 1938 -- Recent Watercolors by John Whorf
Summer, 1938 -- Paintings by American Artists
through Oct., 1938 -- Paintings by American Artists
Oct. 24-Nov. 12, 1938 -- Recent Watercolors by Karl Oberteuffer
Nov. 21-Dec. 17, 1938 -- Paintings for the Home by American Artists
Jan. 16-Feb. 4, 1939 -- Recent Paintings by Floyd Clymer
Feb. 6-25, 1939 -- Harry Hering
March 6-31, 1939 -- Figure Paintings by American Artists
April 3-22, 1939 -- Recent Watercolors by John Whorf
May 15-June 3, 1939 -- Recent Watercolors by Millard Sheets
Summer, 1939 -- Selected Group of Paintings by American Artists
Sept., 1939 -- Paintings and Watercolors by American Artists
through Oct. 13, 1939 -- Recent Paintings by a Group of American Artists
Oct. 16-Nov. 4, 1939 -- Recent Paintings by Saul Schary
Nov. 13-Dec. 2, 1939 -- Toreros and Dancers of Spain and Mexico by Carlos Ruano Llopis
Dec., 1939 -- Paintings for the Home
Nov. 5-17 [193?] -- Table Portraits by Eulabee Dix
[193?] -- Paintings by American Artists
Jan. 2-27, 1940 -- Stephen Etnier
Feb. 12-March 2, 1940 -- Recent Watercolors by Robert Carson
March 11-30, 1940 -- Daniel Serra Paintings
April 8-27, 1940 -- Recent Watercolors by John Whorf
April 28-May 18, 1940 -- Rubin Recent Paintings
through June 29, 1940 -- Paintings by a Selected Group of American Artists
through Sept. 28, 1940 -- Summer Exhibition of Paintings by a Selected Group of Early and Contemporary American Artists
Oct. 1-19, 1940 -- Recent Paintings by a Selected Group of American Artists
Oct. 21-Nov. 9, 1940 -- Recent Watercolors by Allen Ingles Palmer
Nov. 18-Dec. 7, 1940 -- Helen Sawyer
Dec., 1940 -- Selected Paintings for the Home, and A Group of Original Studies in Color by Maurice Sterne
Jan. 13-Feb. 8, 1941 -- Watercolors by American Artists
Feb. 17-March 15, 1941 -- Paintings by Stephen Etnier, Sidney Laufman, and Francis Speight
April 7-26, 1941 -- Recent Watercolors by John Whorf
April 28-May 17, 1941 -- Remembrances of South America and British West Indies by Manicol
May 19-June 30, 1941 -- Group of Paintings by Selected Contemporary American Artists
Summer, 1941 -- Exhibition of Selected Paintings by American Artists
Sept., 1941 -- A Selected Group of Paintings by Americna Artists
Oct. 6-25, 1941 -- Recent Paintings by a Selected Group of American Artists
Oct. 27-Nov. 15, 1941 -- Eliot O'Hara Watercolors
Nov. 17-Dec. 5, 1941 -- Recent Paintings by Jay Connaway
Nov. 17-Dec. 6, 1941 -- Recent Watercolors by Richard A. Kimball
Dec. 8-27, 1941 -- Edith Blum Paintings
Jan. 5-24, 1942 -- Recent Paintings by Stephen Etnier
through Feb. 28, 1942 -- Selected Paintings by a Group of Contemporary American Artists
March 9-28, 1942 -- New Talents Presented by the Gloucester Society of Artists
April 6-25, 1942 -- Recent Watercolors by John Whorf
May, 1942 -- Selected Paintings by Contemporary American Artists
June 2-13, 1942 -- Yun Gee
Summer, 1942 -- Selected Paintings by Early and Contemporary American Artists
Summer, 1942 -- Paintings by Selected American Artists
Oct. 5-31, 1942 -- Recent Paintings by a Selected Group of American Artists
Nov. 9-30, 1942 -- Watercolors by American Artists
Jan. 18-Feb. 6, 1943 -- Paintings by Yovan Radenkovitch
April 4-24, 1943 -- Recent Watercolors by John Whorf
April 26-May 15, 1943 -- Paintings and Watercolors by Childe Hassam
May 25-June 5, 1943 -- Exhibition by Gladys Irene Cook
June, 1943 -- Selected Paintings by American Artists
Summer, 1943 -- Exhibition of Paintings by American Artists
Sept., 1943 -- Paintings by a Selected Group of American Artists
Oct. 4-23, 1943 -- Paintings by Yun Gee
Nov., 1943 -- Recent Paintings by a Selected Group of American Artists
Jan. 24-Feb. 12, 1944 -- Recent Watercolors by James Fitzgerald
Feb. 14-March 4, 1944 -- Paintings by Sidney Laufman
March 6-25, 1944 -- Paintings by Jessie Ansbacher
April 3-22, 1944 -- Recent Watercolors by John Whorf
May, 1944 -- Paintings by Important American Artists
Summer, 1944 -- Exhibition of Paintings by a Selected Group of American Artists
Summer, 1944 -- Exhibition of Selected Paintings by a Group of American Artists
Oct. 2-21, 1944 -- Recent Paintings by Jay Connaway
Oct. 23-Nov. 11, 1944 -- Harry Hering
Nov. 13-Dec. 2, 1944 -- Paintings by Hobson Pittman
Dec., 1944 -- Paintings for the Home by American Artists
Jan. 3-13, 1945 -- Paintings by Therese Steinhardt
Jan. 22-Feb. 10, 1945 -- Louis Ritman
Feb. 18-, 1945 -- Memorial Exhibition, Paintings and Pastels by William Henry Singer, Jr., N.A.
Nov. 19-Dec. 7, 1963 -- New Paintings by Aaron Bohrod
April, 1964 -- Watercolors and Pastels
April 21-May 9, 1964 -- Grigory Gluckmann
May 13-29, 1964 -- Frank di Gioia Recent Paintings
Oct., 1964 -- Group Exhibition
Nov. 3-21, 1964 -- Stephen Etnier
Nov. 24-Dec. 12, 1964 -- Thomas Blagden
Jan., 1965 -- Comtemporary American Artists
Feb. 2-14, 1965 -- Figure Paintings by Murray Bewley
Feb. 2-14, 1965 -- Exhibition by George Biddle
Feb. 11-23, 1965 -- Paintings and Drawings by Max Bohm
Feb. 14-26, 1965 -- Paintings by Arthur C. Goodwin
Feb. 16-28, 1965 -- Water Colors by Matilda Browne
Feb. 16-March 6, 1965 -- Water Colors by Adolf Dehn
March, 1965 -- 19th and 20th Century American Artists
March 1-13, 1965 -- Bruce Crane, N.A.
March 6-25, 1965 -- Pastels of the Cascapedia River, Canada, by Arthur C. Goodwin
March 26-April 7, 1965 -- Paintings by Howard Russell Butler, N.A.
March 23-April 10, 1965 -- Paintings by Dan Lutz
March 28-April 16, 1965 -- Paintings by Henry Golden Dearth
April 2-21, 1965 -- Landscape Paintings by Bruce Crane, N.A.
April 13-May 1, 1965 -- Paintings by Louis Bosa
April 16-28, 1965 -- Water Colors and Etchings by Adolphe W. Blondheim
May, 1965 -- Gallery Contemporaries
Oct. 25-Nov. 13, 1965 -- Recent Landscapes by John F. Carlson, N.A.
Oct. 26-Nov. 13, 1965 -- Twenty-Four New Paintings by Aaron Bohrod, Artist in Residence, University of Wisconsin
Nov. 2-14, 1965 -- Paintings by Ann Crane
Nov. 5-17, 1965 -- Memorial Exhibition of Paintings of Venice by Wm. Gedney Bunce, N.A.
Nov. 7-19, 1965 -- Paintings and Sculpture by Matilda Browne
Nov. 16-Dec. 4, 1965 -- Electra Bostwick
Dec. 7-30, 1965 -- Recent Drawings and Watercolors of European Countries and North Africa by Frank di Gioia
Jan. 11-29, 1966 -- Georges Schreiber Watercolors: 1963-1965
Jan.-Feb., 1966 -- 19th and 20th Century American Artists
Feb.-March, 1966 -- Group Exhibition
June, 1966 -- Group Exhibition
Oct. 11-29, 1966 -- Thomas Blagden
Nov. 1-19, 1966 -- Stephen Etnier
Nov. 22-Dec. 10, 1966 -- Pleissner
Jan. 24-Feb. 11, 1967 -- Xavier Gonzalez
April, 1967 -- Group Exhibition
April 18-May 6, 1967 -- Grigory Gluckmann
July, 1967 -- Group Exhibition
undated -- Etchings and Color-Etchings
undated -- Etchings of China and Cambodia by Lucille Douglass
undated -- Thomas Jefferson Bust in Bronze by Robert Aitken, N.A.
undated -- Paintings by Ossip L. Linde
undated -- Etchings by William Meyerowitz
undated -- Recent Screens and Panels by Roy Mac Nicol
undated -- Summer Exhibition of Paintings and Watercolors by 19th and 20th Century American Artists
undated -- Paintings by Clement
undated -- Important Works in Paintings and Sculpture by Leading American Artists
Jan. 3-14, undated -- Armin Hansen
Jan. 8-27, undated* -- Recent Etchings by William Meyerowitz
Jan. 8-31, undated -- Group of American Figure Paintings, 19th and 20th Century
Jan. 9-21, undated -- Paintings by Katherine Langhorne Adams
Jan. 16-28, undated -- Paintings by Dewitt Parshall, N.A., and Douglass Parshall, N.A.
Jan. 23-Feb. 11, undated -- Paintings by Bruce Crane, Elliott Daingerfield, Granville Smith, and F. Ballard Williams
Jan. 27-Feb. 11, undated -- Willam de Leftwick Dodge
Jan. 28-Feb. 16, undated -- Paintings by Gari Melchers
Jan. 29-Feb. 10, undated -- Paintings of the California Coast by Armin Hansen
Jan. 30-Feb. 11, undated -- Sigrud Skou
Feb. 13-25, undated -- Water Colors by Alice Judson
Feb. 13-25, undated -- Paintings by Guy Wiggins, N.A.
Feb. 13-March 11, undated -- Paintings by H.T. Keasbey
Feb. 15-March 5, undated -- Frederic James
Feb. 17-March 1, undated -- Silver Point Drawings by Thelma E. Wood
Feb. 18-March 6, undated -- Landcapes, Nature Moods Expressed in Terms of Light by Julie Mathilde Morrow
Feb. 18-March 8, undated -- Paintings of Venice, Rome and French Landscape, also Pastel Drawings of the Battle Sectors of the 26th Division, A.E.F. by J. Alden Twachtman
Feb. 27-March 10, undated -- Portrait Busts and Drawings by Alexander Portnoff
March 5-17, undated* -- Pastels of the Hudson River by Arthur C. Goodwin
March 7-16, undated -- Paintings of Africa and Spain by Lillian Genth
March 7-26, undated -- Sigurd Skou
March 8-20, undated -- Paintings by Sigurd Skou
March 10-22, undated -- MacDowell Club of New York City Annual Exhibition of Paintings
March 22-April 10, undated -- Paintings of the Cathedrals of France by Pieter Van Veen
March 26-April 12, undated -- Paintings by E. Martin Hennings
March 26-April 14, undated -- Recent Etchings by Elias M. Grossman
March 28-April 16, undated -- Martha Walter Water Colors of Spain and North Africa
April 5-17, undated -- Paintings by Ernest L. Blumenschein, Victor Huggins, Walter Ufer
April 7-19, undated -- Figure Paintings by Louis Ritman
April 12-23, undated -- Portraits and Figure Paintings by Edith Catlin Phelps
April 12-24, undated -- Paintings of American Gardens by Abbott Graves
April 16-28, undated -- Portrait Drawings in Pastel by Jessie Voss Lewis (Mrs. H.L. Daingerfield Lewis)
April 19-May 1, undated -- Paintings by Valentino Molina
April 21-May 3, undated -- Paintings of Tahiti and California by William Ritschel, N.A.
April 21-May 3, undated -- Leonard Lopp, Glacier Park Artist
April 22-May 15, undated -- Sculpture for House, Garden & Grounds by Leading American Artists, and Pottery by Clara L. Poillon
April 24-May 5, undated -- Paintings by Thalia Millett
April 26-May 15, undated -- Dan Lutz, Mighican Summer and Mexican Sojourn
April 26-May 15, undated -- William H. Singer
April 27-May 16, undated -- Recent Paintings by Gluckmann
May 3-28, undated -- Exhibition of Sculpture for Garden and Grounds by Leading Sculptors
May 5-17, undated -- Recent American Sculpture in Bronze, Wood and Terra Cotta for the Town and Country House, Grounds and Garden
Oct. 11-23, undated -- Paintings by Anna Heyward Taylor
Oct. 25-Nov. 13, undated -- Water Colors by Alice Judson
Oct. 27-Nov. 15, undated -- Paintings and Etchings by William Auerbach-Levy
Oct. 30-Nov. 11, undated* -- Connecticut Landscape Paintings by Robert Nisbet, A.N.A.
Oct. 31-Nov. 12, undated -- Paintings of China and Tibet by Alice Job
Oct. 31-Nov. 14, undated -- Drawings by James Wilkie
Nov. 5-17, undated -- Paintings of Venice
Nov. 15-27, undated* -- Water Colors by Childe Hassam
Nov. 16-Dec. 5, undated -- Recent Etchings by Alfred Hutty
Nov. 16-Dec. 5, undated -- Paintings by W. Elmer Schofield
Nov. 17-29, undated -- Paintings and Etchings by Power O'Malley
Nov. 18-30, undated -- Recent Work in Water Color and Etching by Louis Wolchonok
Nov. 19-Dec. 1, undated -- Winter Landscapes in Water Color by Walter Launt Palmer, N.A.
Nov. 19-Dec. 1, undated -- Painter Friends, Robert H. Nisbet, Guy C, Wiggins, Edward C. Volkert, Wilson Irvine, George M. Bruestle, and Carl J. Nordell
Nov. 23-, undated -- Landscapes by Ault, Brook, Coleman, Karfiol, Ritman, Speight, Sterne, and Weber
Nov. 23-Dec. 6, undated -- Portraits of America's Most Distinguished Women by Leon Gordon
Nov. 24-Dec. 3, undated -- Sculpture by Gleb Derujinsky
Nov. 26-Dec., undated -- Exhibition of Recent Vermont Landscapes by Edward Bruce
Nov. 26-Dec. 5, undated -- Alfred Hutty
Nov. 27-Dec. 9, undated -- Paintings by Sigure Schou
Dec. 1-27, undated -- Works Painted in Spain by Maurice Fromkes
Dec. 1-25, undated -- Annual Holiday Exhibition of Selected Paintings of Limited Size
Dec. 3-29, undated -- Recent Paintings, Water Colors, and Etchings by Hilde Hassam, N.A., of the American Academy of Arts and Letters
Dec. 6-30, undated -- Selected Paintings for the Home by American Artists
Dec. 14-Jan. 2, undated -- Recent Paintings by George Shillard
Dec. 20-Jan. 8, undated -- Selected Small Paintings for the Home
Dec. 27-Jan. 12, undated -- Helen K. McCarthy Memorial Exhibition
Dec. 30-Jan. 18, undated -- Paintings by Stewart McDermot
Dec. 31-Jan. 12, undated -- Second Annual Exhibition in Pure Water Color by The Aquarellists
Milch Gallery gave the Archives of American Art a small selection of correspondence, photographs, and printed matter, and loaned a few other items in 1966-1967; these records were microfilmed on reels D285, N730, and NM1-NM2. Records of the Milch Gallery were purchased from the estate of Harold C. Milch by Elliott Galleries of New York City, and subsequently acquired by Salander-O'Reilly Galleries, which donated them to the Archives in 1986. With the exception of the scrapbook about Thomas Moran (reel N730; present location of the original is unknown), prior loans and gifts from Milch Gallery were incorporated and refilmed with the 1986 gift.
Stuart Feld of Hirschl & Adler Galleries donated an additional .8 linear feet of records in 1995. Zachary Ross of Hirschl & Adler Galleries donated 2.2 linear feet in 2014.
The collection is open for research. Patrons must use microfilm copy.
The Milch Gallery 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.
The Leo Castelli Gallery records measure 215.9 linear feet and 0.001 GB and date from circa 1880-2000, with the bulk of the materials dating from the gallery's founding in 1957 through Leo Castelli's death in 1999. The major influence of dealer Leo Castelli and his gallery on the development of mid-to-late twentieth century modern art in America is well-documented through business and scattered personal correspondence, administrative files, exhibition files, extensive artists' files and printed materials, posters, awards and recognitions, photographs, and sound and video recordings. Also included are records for the subsidiary firms of Castelli Graphics and Castelli/Sonnabend Tapes and Films.
Scope and Content Note:
The Leo Castelli Gallery records measure 215.9 linear feet and 0.001 GB and date from circa 1880-2000, with the bulk of the materials dating from the gallery's founding in 1957 through Leo Castelli's death in 1999. The major influence of dealer Leo Castelli and his gallery on the development of mid-to-late twentieth century modern art in America is well-documented through business and scattered personal correspondence, administrative files, exhibition files, extensive artists' files and printed materials, posters, awards and recognitions, photographs, and audio and video recordings. Also included are records for the subsidiary firms of Castelli Graphics and Castelli/Sonnabend Tapes and Films.
The records document the gallery's daily business operations, exhibitions, spaces/buildings, collaborations and joint ventures with other galleries and museums, and its relationship with many artists,