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.
Files consist of Henry-Russell Hitchcock's personal and professional correspondence, as well as subject files relating to academic research, teaching, curatorial interests, and professional associations. Subject files are comprised mainly of correspondence and printed material, with a small number of photographs that mostly relate to exhibitions and writings. After 1932, copies of Hitchcock's outgoing letters are almost always included, making the files from 1932-1987 almost complete.
The correspondence includes large numbers of letters from prominent architectural historians, architects, artists, preservationists, museum directors and curators. Also included is correspondence with students, friends, relatives, publishers, and representatives of organizations and institutions.
Among the correspondents of note are: Bernard Berenson, Eugene Berman, Leonid Berman, Lyonel Feininger, Brendan Gill, Robert Goldwater, George Howe, Lincoln Kirstein, J. J. P. Oud, Erwin Panofsky, Kingsley Porter, Paul J. Sachs, R. M. Schindler, Theodore Sizer, E. Baldwin Smith, Peter van der Meulen Smith, James Soby, Victor Spark, Harold Sterner, John Summerson, Virgil Thomson, Paul Vanderbilt, Theo Van Doesburg, Helmut von Erffa, and Gordon Washburn. Other important correspondents represented in a decade or more of correspondence include: Jere Abbott, Winslow Ames, Everett A. (Chick) Austin, Alfred H. Barr, Agnes Rindge Claflin, John Coddington, Walter Cook, John Coolidge, Henry (Harry) Sayles Francis, George Heard Hamilton, Ada Louise Huxtable, Philip C. Johnson, William Jordy, George N. Kates, Edgar Kauffmann, Jr., Richard Krautheimer, Phyllis W. Lehmann, Thomas J. McCormick, Agnes Mongan, Lewis Mumford, Nikolaus Pevsner, A. Kinglsey Porter, Willebald Sauerlander, Vincent Scully, Helen Searing, James Thrall Soby, Dorothy Stroud, John Summerson, Virgil Thomson, Emily Tremaine, Paul Vanderbilt, Rudolph Wittkower, and Frank Lloyd Wright.
See Appendix for a list of individuals, organizations, and subjects in Series 2
Files are arranged with a single alphabet for each year.
Appendix: Individuals, Organizations, and Subjects in Series 2:
Below is an index to individuals, institutions, organizations, and a small number of subject files, found in Series 2: Alphabetical Files. The index indicates the name and the alphabet year(s) in which each can be found.
Hitchcock did not follow strict alphabetical schema when organizing his files and filing eccentricities for the letters D, M, N, and V are explained below. The original arrangement has been left in place due to the difficulties and time involved in re-arranging the material within multiple alphabets.
Note on filing order for D's: Names beginning with the prefix "de" (e.g. De Cordova) are all filed before names beginning with the letters "de" e.g. Deerfield Academy.
Note on filing order for M's: Names beginning with the prefix "Mac" and "Mc" are all filed after names beginning with Ma. They are interfiled according to the first and subsequent letters following the prefix e.g. McIntyre, Mackay, McKean, MacLaren.
Note on filing order for N's: Proper names beginning with the word "new" (e.g. New American Library) are all filed before names incorporating the syllable "new" e.g. Newark Public Library.
Note on filing order for V's: Names beginning with the prefix "van" (e.g. Van Derpool) are all filed before names beginning with the syllable "van" e.g. Vancouver Hotel.
Coddington, John (1945-1949, 1951, 1956-1957, 1959, 1961-1962, 1968-1970, 1977, undated)
Coe, Bill (1958)
Coe, R. E. (Ted) (1962)
Coe, Ralph T. (1953, 1955, 1974)
Coffin, David R. (1965, 1968, 1973)
Cogswell, Dorothy (1951, 1959, 1962)
Cohen, Alfred (1946)
Cohen, Joan L. (1954-1957, 1960, 1963-1965)
Cohn, David N. (1984)
Cohn, Suzanne (1968)
Colby College (1968)
Cole, Dorothy (1958)
Cole, Harry (1957)
Coletti, Joseph (1961)
Coletti, Paul (1957)
Colgate University (1976, 1978)
Colibris Editora Ltda. (1962, 1964-1965, 1967)
Colin, Mrs. Ralph F. ( 1955)
Collaborazione Culturale, Instituto per la (1962)
College Art Association (1940, 1946-1953, 1955-1959, 1961-1964, 1966, 1969-1971, 1973-1979)
Colliers Encyclopedia -- (1947-1949, 1958-1959)
Collins, Cecil (1956)
Collins, Colin (1955)
Collins, Elizabeth (1959)
Collins, George R. (1960-1961, 1964, 1968, 1975-1976, 1979, 1983)
Collins, Peter (1964-1965, 1967-1968)
Colonial Travel Bureau (1955)
Columbia Historical Society (1982)
Columbia University 1937, 1939-1941, 1945, 1947-1948, 1954-1956, 1958-1959, 1961, 1964-1969, 1971, 1973-1977, 1979-1983, 1985-1986 ( -- see also -- : Avery Library; Avery Study Center, Columbia University)
Columbia University, Temple Hoyle Buell Center for the Study of American Architecture (1984)
Columbus Gallery of Fine Arts (1948-1949)
Colvin, Howard M. (1959)
Colwell, Miriam (1976)
Combs, Tom (1975)
Comite Francais D'Historie de L'Art (1967)
Commercial Credit Corporation (1947)
Committee for the Centennial Exhibition of New England Architecture (1957)
Committee for the Preservation of Architectural Records (1979)
Committee on Education and Labor, U. S. Congress (1954)
Committee on Government and Art (see: Government and Art, Committee on)
Community Arts Center (1945)
Community Chest (1958)
Comparative Studies in Society and History -- (1958)
Conant, Kenneth G. (1946-1947, 1952, 1973)
Concrete Quarterly -- (1955)
Condit, Carl W. (1963)
Condolence Letters [on death of mother] (1952)
Conference Board of Associated Research Councils (1948, 1951)
Congress on the History of Art, Twentieth International (1960-1961)
Conlon, Kathleen M. (1969)
Connaissance des Artes -- (1959)
Connecticut Automobile Assigned Risk Plan (1946-1947)
Connecticut College (1938-1942, 1944, 1947, 1953, 1956, 1963, undated)
Connecticut Commission on the Arts (1968)
Connecticut, Department of Agriculture (1937)
Connecticut State Department of Consumer Protection (1986)
Neutra, Richard (1928, 1940-1941, 1954, 1969, undated)
Neville, Elizabeth (1964)
Neville, Richard G. (1958)
Neville, Harriett Elizabeth (1966)
New American Library (1952)
New Amsterdam Casualty Co. (1948)
New England Antiquities, Society for the Preservation of (1972-1973) ( -- see also -- : Preservation of New England Antiquities, Society for the; Society for the Preservation of New England Antiquities)
New England Architecture, Committee for the Centennial Exhibition of (1957)
New England Quarterly -- (1955)
New Gallery (1963)
New Haven Festival of Arts (1959)
New Haven Preservation Trust (1964, 1966-1969)
New Jersey Historical Society (1962)
New Jersey Society of Architects (1957)
New Liberty (1952)
New London (1976)
New Mexico, University of (1957)
New Watson Hotel (1955)
New York Central Railway (1956)
New York City (1972)
New York City, Art Commission of (1983)
New York City Planning Commission (1972)
New York Graphic Society (1970
New York Herald Tribune -- (1947)
New-York Historical Society (1950-1951, 1961-1962, 1969)
New York State Association of Architects (1949)
New York State, Temporary Commission on the Restoration of the Capitol (1980-1981)
New York, State University of (1952)
New York Times -- (1947-1948, 1957, 1960-1961)
New York University (1945-1949, 1951-1954, 1958, 1960-1961, 1968-1986) ( -- see also -- : Gray Art Gallery; Institute of Fine Arts) New York University Seminar (1977, 1980)
Porter-Phelps-Huntington House, Inc. (1953, 1955-1957)
Porter-Phelps-Huntington Foundation (1962-1964, 1967)
Portnoy, Martin (1986)
Portsmouth Priory (1949)
Posener, Julius (1964-1966, 1968-1969)
Postmaster, Western District, London (1956)
Potter, Brooks ( 1956)
Potter, Inc. (1969)
Powell, Herbert ( 1963)
Powell, Philip (1952)
Powell, Philip and Moya (1954)
Praeger, Inc. (1962-1963, 1967-1971, 1973)
Prairie School Press (1963, 1966, 1968, 1970)
Prakapas, Eugene J. (1974, 1985)
Prats, Joan (1956)
Pratt and Whitney Aircraft (1945)
Praz, Mario (1955-1956)
Prentice-Hall, Inc. (1962)
Pre-Raphaelite Decorative Arts Exhibition (1971)
Preservation League of New York (1981)
Preservation of New England Antiquities, Society for the (1956, 1963, 1966) ( -- see also -- : New England Antiquities, Society for the Preservation of; Society for the Preservation of New England Antiquities)
Preservation Society of Newport Co. [Rhode Island] (1948, 1955) ( -- see also -- : Newport Co. [Rhode Island], Preservation Society of)
Prestel Verlag (1975)
Preston, James (1963)
Preusser, Robert (1957)
Prey, Pierre du (1968-1969)
Preziosi, Donald (1981)
Price, Eric J. (1946)
Price, Paton (1949)
Priest, Allen (undated)
Primex Trading Co. (1950)
Prince, Charlotte (1969)
Princeton University (1945-1947, 1951-1952, 1955, 1957-1958, 1963, 1972, 1974-1978, 1985)
Prior, Harris K. (1947-1949, 1951, 1954-1956, 1962)
Smith, Alexander Mackay (1949) ( -- see also -- : Mackay-Smith, Alexander)
Smith and Sons (1953)
Smith, Anna L. (undated)
Smith, Betty (1928-1929)
Smith College (1946-1964, 1966-1973, 1975-1976, 1978, 1981-1982) ( -- see also -- : Department; Kennedy Fund)
Smith College Alumnae Association (1954) ( -- see also -- : Alumnae Association)
Smith, E. Baldwin (1946-1947, 1953)
Smtih, Edith (1928-1929)
Smith, Fred S. (1928)
Smith, Mrs. Frederick (1945)
Smith, G. E. Kidder (1957, 1961, 1963, 1965)
Smith, George Walter Vincent Museum (1961)
Smith, Gertrude D. (1972)
Smith, Hinchman and Grulls Associates, Inc. (1976)
Smith, Kathryn (1976-1980, 1983, 1986)
Smith, Linn (1947)
Smith, Meg (1972, 1974)
Smith, Patricia Anne (1950)
Smith, Peter van der Meulen (1927-1928)
Smith, Robert C. (1950-1952, 1956)
Smith, Sidney (1947)
Smith, Vincent (1971)
Smith, William and Son (1949)
Smithson, Peter (1966)
Smithsonian Associates (1975)
Smithsonian Institution (1967, 1976, 1979)
Smyser, H. M. (1965)
Smyth, Craig Hugh (1951-1952, 1956, 1983)
Snow, Florence (1955)
Snow, Wilbert (1945)
Snowden, Ernest (1927-1928)
Snyder, John (1974)
Soby, James Thrall (1945-1950, 1954-1955, 1957-1958, 1960-1961, 1968, 1977, 1979)
Soby, Nellie (1951-1953)
Societe Editions de France (1958)
Society for the Preservation of Long Island Antiquities ( -- see -- : Long Island Antiquities, Society for the Preservation of)
Society for the Preservation of New England Antiquities (1948, 1972, 1975) ( -- see also -- : New England Antiquities, Society for the Preservation of; Preservation of New England Antiquities, Society for the)
Society of Architectural Historians (1949-1985, 1987)
Society of Architectural Historians of Great Britain (1958-1980, 1983-1986)
Society of Mayflower Descendants ( -- see -- : Mayflower Descendants, Society of)
Solomon, Arthur and Marny (1975)
Solomon, Pringle (1948)
Somerset Co. [N.J.] Park Commission (1970)
Somerwil, J. (1962)
Sommer, Clifford C. (1958)
Sommer, Frank (1970)
Sonne, Fi (1955-1956)
Sonnenberg, Benjamin (1972)
Sorem, Lucia (1961)
Soria, Martin (1958)
Sotheby Parke Bernet, Inc. (1971, 1982)
Southern California, University of (1966, 1968)
Southern Regional Education Board (1966)
Spaeth, John W. (1945-1946)
Spark, Victor (1948, 1971)
Spear, Dorothea (1955)
Speed Art Museum ( -- see -- : Louisville, J. B. Speed Art Museum)
Speed, Herbert (1946)
Speirs, Bruce (1982)
Spence, Basil (1963-1964)
Spence, Eleanor (1954)
Spencer, Brian (1973-1974)
Spencer, Stephen (1956)
Spencer, Walter L. (1975-1976, 1978)
Sperling, Harry G. (1955)
Speyer, Darthea (1952)
Spokes, P. S. (1955)
Sprague, Joan Forrester (1960)
Sprague, Paul (1973, 1980, 1983)
Springarn, J. E. (1938)
Springfield [Mass.] (1980-1981)
Springfield [Mass.] City Planning Department (1971)
Springfield [Mass.] Museum of Fine Arts (1949, 1954)
Springfield [Mass.] Republican (1944-1945)
Springfield [Miss.] Art Museum (1949)
Stabile, Elizabeth (1963)
Stadt Koln (1957)
Stahl, Frederick A. (Tod) (1969-1970)
Staib, Hermann (1966, 1968-1969, 1974)
Staley, Karl A. (1953)
Stamm, Gunther (1979)
Stamp, Gavin (1978, 1985)
Stanford University (1985)
Stanton, Phoebe B. (1952-1954, 1958, 1965, 1968, 1970)
Staples Press (1950)
Starr, Mrs. Nathan C. (1952)
State Department, U. S. (1955, 1956, 1958) ( -- see also -- : Department of State; United States Department of State)
State Department, U.S. Information Agency (1957)
State Historical Society of Wisconsin ( -- see -- : Wisconsin, State Historical Society of)
Stebbins, Theodore E. (1965-1969, 1972-1973, 1977-1978)
Wright, Frank Lloyd, Home and Studio Foundation (1977, 1984)
Wright, Frank Lloyd, and -- In the Nature of Materials -- (1941)
Wright, John Lloyd (1968)
Wriston, Barbara (1952-1953, 1956, 1960, 1962, 1967)
Wurm, Heinrich (1966)
Wurster, William W. (1943-1944, 1946,-1948, 1950, 1951-1957, 1959, 1961)
Wurster, William W. and Catherine 1945
Wyoming, University of (1975)
Xenakis, Jason (1958)
Yale Review -- (1966-1968, 1970)
Yale University (1947-1960, 1962-1963, 1965-1979, 1982, 1986)
Yardley, Michael (1975-1978)
Yeon, John (1954)
York City Art Gallery (1958)
York Institute of Architectural Study (1957-1959, 1961)
York, University of (1962, 1970)
Yorke, R.F.S. (1952)
Youell, William (1948)
Young, E. A. (1947)
Young, Elaine (1962)
Young, Elizabeth (1961)
Young, Paul E. (1949)
Young, Mr. and Mrs. Wilfred B. (1954-1955)
Youritzin, Glenda Green (1974)
Zacchwatowicz, Jim (1963)
Zador, Anna (1970, 1972)
Zarnecki, George (1953)
Zaroff, Anne T. (1975)
Zawisa, Bernard J. (1952-1953, 1956)
Zenith Corp. (1969-1970)
Zenobi Sarto (1963)
Zerkowitz, A. (1957)
Zevi, Bruno (1952)
Zewicher, Mrs. Victor K. (1950)
Zimmerman Brothers (1963-1966, 1969)
Zimmerman, Mrs. Isadore (1952)
Zodiac Revue -- (1959-1969)
Zorn, Kate (1979)
Zubarec, Michael (1956-1957)
Zwemmer, A. (1946-1948, 1955, 1959)
The collection is open for research. Use requires an appointment.
The Henry-Russell Hitchcock 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.
Henry-Russell Hitchcock papers, 1919-1987. Archives of American Art, Smithsonian Institution.
Funding for the processing of this collection was provided by the Terra Foundation for American Art
Records of the Hills Bros. Coffee Company, Incorporated, documenting overall operations of the company, the creation of advertising materials, and development of the coffee trade.
Scope and Contents:
The collection is divided into thirteen series.
Series 1, Hills Family Papers, 1856-1942; undated, consists primarily of personal and business related materials of Austin H. Hills Sr., Austin Herbert Hills Jr. and Herbert Gray Hills. Austin Herbert Hills Sr. was the father of Austin Herbert Hills Jr. and Reuben Wilmarth Hills founders of Hills Bros. Coffee Company Incorporated. Herbert Gray Hills is the son of Austin Herbert Hills Jr. In addition, there are home movies created in 1933 by members of the Hills family. The series is divided into three subseries.
Subseries 1.1, Austin Herbert Hills, Sr. Papers, 1856-1875; undated, consists primarily of materials related to his business affairs. Born in Rockland, Maine and a ship builder by trade, Austin Sr. opened a butter, eggs and cheese business in 1863. These materials are a miscellaneous assortment of correspondence and accounting ledgers relating to the partnership of Hills, Rice & Company. In addition, there is an article from the Daughters of the American Revolution Magazine about Harriet Heal Hills (Mrs. Austin H. Hills). Mrs. Hills joined the Oakland chapter in 1904 and remained a very active member most of her life. Her father was John Heal who served as corporal in the continental army. The materials are arranged in chronological order by date.
Subseries 1.2, Austin Herbert Hills, Jr. Papers, 1875-1923, contain correspondence which relate to both business and personal matters. The correspondence is arranged in the order that Mr. Hills maintained which is in alphabetical order by the last name of the recipient or sender and then in chronological order. In addition, there is an accounting ledger for Austin Hill's diary business prior to the creation of the Hills Bros. Coffee Company.
Subseries 1.3, Herbert Gray Hills Correspondence, 1923-1942, contain handwritten notes, letters, telegrams and other related materials. Subjects discussed include annual stockholders meetings, golf tournaments, quantities of merchandise shipped to various locations, programs for division managers' meetings, a copy of the proposed demands by office workers' union and I. L. A. 38-44 on San Francisco business and industrial establishments, and advertising. The materials are arranged in chronological order by date as they were maintained by Mr. Hills.
Series 2, Background Materials, 1896-1988; undated, contain a substantial amount of information relating to the Hills family and the history of the coffee company. Most of these materials are unpublished chronologies, historical sketches, newspaper clippings, presentations written by T. Carroll Wilson, and magazine articles. There is also a genealogy of the Hills family which dates from 1602-1950. One of the more interesting histories is the informal memoirs of Frank Veirs, Jr., who began as a plant employee and later became a factory superintendent. Veirs maintained detailed notes on the company's activities dating from 1896 to 1946. These notes are personal in nature but add to the historical events of the company. Reminiscences of daily routines, the management styles of the Hills brothers and company loyalty among employees are major themes throughout his writings. In 1948, NW Ayer advertising agency created the Hills of San Francisco which commemorates the twenty fifth anniversary of NW Ayer & Sons service to Hills Bros. Coffee, Incorporated. Limited copies of this publication were distributed to Hills Bros. top executives. The 1967 publication of a Background Story of Hills Bros. Coffee, Incorporated was designed by Walter Landor and Associates and based on a slide presentation created by T. Carroll Wilson. The original script and slides are included among these materials. In addition, there are local newspaper clippings on the history of the family and the company dating from 1922 to 1931. In 1988, Hill Bros. Company, Incorporated hired history associates to create a catalogue of artifacts and archival materials in its holdings. With the assistance of T. Carroll Wilson key items were chosen and described in the catalogue. There are a number of folders divided by the sections of the catalogue and include original samples followed by a color photocopy of the catalogue and two black and white copies. Materials are arranged in chronological order by date.
Series 3, Coffee Reference Files, 1921-1980; undated, are materials relating to the cultivation, packaging, distribution, advertising, marketing and consumption of this beverage primarily in the United States. The materials provide an in-depth analysis of the history of the coffee trade and Hills Bros. Coffee Company's unique position in its developments. The series is divided into two subseries. Subseries one is material created by Hills Bros. primarily for the company but also includes information directed at the coffee trade and consumers. Subseries two is materials created by the coffee industry and other publishers primarily for the trade with a few materials directed toward consumers.
Subseries 3.1, Hills Bros. Coffee Company Literature, 1921-1976; undated, consist of publications created by the company for promotional and educational use. Such materials provide a significant amount of information on both the history of the coffee industry, and the history of Hills Bros. Coffee Company. Important publications include a copy of "Behind the Cup" (1928) which outlines the history of Hills Bros. from the establishment of the Arabian Coffee and Spice Mills to the building of the home office and plant on Harrison Street in 1926. This publication was also used as a companion piece to the film of the same title and was created by the NW Ayer advertising agency. Hills Bros. Coffee Company publications relating to the coffee trade include a 1922 booklet entitled Cultivation and Preparation of Coffee and Tea which was distributed widely to teachers and schools. The Art of Entertaining, another NW Ayer Advertising Agency creation, was designed to educate the consumer about coffee with tips on entertaining and coffee recipes. In addition, there are a series of inspirational books written by Coleman Cox for Hills Bros. which was distributed to its employees. A number of presentations written by T. Carroll Wilson for professional meetings and publications are also included among these materials. The materials are arranged in chronological order.
Subseries 3.2, Coffee Industry Literature, 1924-1980; undated, consists of publications including articles, annuals, proceedings from conventions, pamphlets and books. Topics of discussion include major growers, coffee roasting and packaging, the history of coffee as a consumer product, marketing, distribution and recipes. These materials assist in placing Hills Bros. and its major developments in the field in historical perspective. The majority of the publications was created by the Pan American Coffee Bureau and includes materials from the Coffee Industries of America, National Coffee Association, Federation of Coffee Growers of Columbia, American Coffee Bureau, Associated Coffee Industries of America and the Bureau of Coffee Information. Materials are arranged in chronological order.
Series 4, Advertising Materials, circa 1890s-1987; undated, comprise the largest series in the collection. These materials consist of scrapbooks, advertising cards, postcards, letterhead stationery, labels, proof sheets, advertising forms, advertising portfolios, printed advertisements, schedules for newspaper advertising, storyboards for television commercials and packaging. Researchers will be able to trace the evolution of Hills Bros. advertising campaigns using a variety of formats promoted through newspaper, magazine, radio and television. In addition, there are materials that document the decision making process. Records show the amount of money Hills Bros. allocated annually for advertising and budget proposals. This information supports evidence of the percentage of advertising costs versus the total overall operating budget. Correspondence between Hills Bros. and NW Ayer Advertising Agency provide insight into the client and advertising agency relationship. The series is organized into eleven subseries.
Subseries 4.1, Scrapbooks, 1906-1978; undated, consist of seven volumes containing materials created by the company to document their products and packaging. Six of the scrapbooks are conventionally sewn and are relatively small compared to the scrapbooks referred to by the company as its historical albums in series two. These volumes contain primarily circulars, labels, postcards, advertising cards and printed advertisements. A number of the materials relate to the teas and spices that were sold by the company as well as its coffee. In addition, there is a scrapbook of mostly newspaper clippings documenting the introduction of Hills Bros. High Yield coffee in 1978. All of these scrapbooks are in fairly good condition and the contents remained securely attached to the pages. Given the sound condition of the volumes, the only preservation measure that was taken was to box the volumes. The boxes provide physical protection during storage and assist in safe retrieval and transport. The outside of the scrapbooks are identified as labels but contain other types of material. The scrapbooks are arranged by the number assigned to it by the company and then in chronological order.
Subseries 4.2, Historical Albums, 1911-1967, were created by the company and provide an overview and rich source of the company's visual materials arranged in chronological order by year. The earlier volumes were created by one of the Hills brothers and later carried out by various members of the staff. The albums contain a variety of materials such as paperboard boxes, pamphlets, metal cans, newspaper clippings, photographs, printed advertisements, street car advertisements and labels. These albums presented a number of preservation concerns. Many of the materials in the albums are partially loose or detached from the scrapbook pages because the rubber cement has lost its adhesive properties. Some of the oversized items are folded to fit the scrapbooks and show signs of deterioration. The size of these mammoth volumes made it extremely difficult to handle and transport them. Structurally the volumes could not support the contents. Based on the assumption that these volumes were valuable research tools, the recommendation was to disband the scrapbooks. Still maintaining the original order of the volumes the pages were numbered and only fifty pages were housed per box. Loose materials were sleeved and also kept in order. Most of the materials in these scrapbooks can be found in other parts of the collection.
Subseries 4.3, Ephemera, 1890s-1987, contain some of the earliest forms of advertising and materials also found in the scrapbooks and historical volumes. The material consists of advertising cards, advertising forms, artwork, business cards, envelopes, handbills, record cards, letterhead stationery, postcards, labels, and point of purchase displays. Some of the materials are for products sold by the company before they became exclusively involved in the coffee market. Materials are arranged in alphabetical order by type.
Subseries 4.4, Portfolios, 1919-1985, undated consist of packets of material created by Hills Bros. and generally directed toward retailer grocers. Salesmen would utilize these portfolios as a means of introducing advertising campaigns and convincing grocers of how well supported the products were. The portfolios often included printed advertisements; directions for window and store displays; price lists of products by the case; suggested stocking requirements and/or guidelines; schedules for newspaper, radio or television coverage; advertising forms; story boards; illustrations of colorful outdoor advertisements; coupons and premiums and literature explaining the theme of each campaign. Researchers will find these materials useful in understanding product advertising from the point of view of the retail grocer. The materials document Hills Bros. suggestions for selling their products, display methods and customer satisfaction techniques. Materials are arranged in chronological order by date.
Subseries 4.5, Proof sheets, 1922-1968, consist mostly of materials created by NW Ayer & Son Advertising Agency. Generally these proof sheets are black and white copies of what appeared in magazines or journals. At the bottom of each page pertinent information such as publication title, location and date is often included. The changing messages of advertising and shifts in target audiences can be seen through the use of storylines, particularly in the earlier proof sheets. Researchers should also consult the NW Ayer Collection finding aid located in the Archives Center reference room for copies of proof sheets not included among these materials. Materials are arranged in chronological order.
Subseries 4.6, Advertising Forms, 1922-1971; undated, consist of in-store wall posters or window displays to attract the attention of the customer and to assist in selling the products. Graphically interesting and colorful, noted artists such as Norman Rockwell created some of these advertising forms. All of the advertising forms are numbered and some are dated. There is also a scrapbook containing advertising forms. In addition, there are electrotypes, mats and multi-graph plates also included among the materials. Series five contains photographs of some of the advertising forms with information about intended use in the store. Materials are arranged first by size and then in order by the number assigned to each advertising form. Photographs of some of the advertising forms can be found in the reference room located in the Archives Center.
Subseries 4.7, Newspaper and Magazine Advertising, 1926-1971; undated, consists primarily of schedules for newspaper advertisements. The schedules date from 1928-1933 and were prepared by NW Ayer & Sons Advertising Agency for the Chicago, Denver, Kansas City, Los Angeles, Minneapolis, Portland and San Francisco divisions. These materials provide useful information including the name of the publication and the amount of money that was spent for a particular time period. There are estimates for advertising in both newspapers and magazines which were also prepared by NW Ayer & Sons. The estimates document the company's management of printed advertisements noting where they appeared, the date, length of publication and cost. Hills Bros. correspondence to salesmen and grocers discuss advertising campaigns and suggest ways to sell more coffee. In addition, there are recapitulation of newspaper advertising costs and circulation for the Chicago, Denver, Los Angeles, Minneapolis, Portland and San Francisco divisions. Other materials include a report, typescripts of newspaper advertisements, dealer materials for coffee guide newspaper advertisement, press releases for newspaper advertisements, mailers to dealers about newspaper advertisements, samples of newspaper advertisements for the Chicago market and newspaper advertising circulation for the Midwest market. Materials are arranged in chronological order by date.
Subseries 4.8, Sampling Campaigns, 1928-1941 consist primarily of materials related to the sampling campaign conducted in the fall of 1941. The plan for the campaign was developed by the Reuben H. Donnelley Corporation and consisted of mailings and home-to-home coffee distribution. The sampling territories were divided into three geographical locations. Section one, the Michigan campaign, comprised of Detroit and its suburbs including Wayne county and the cities of Jackson, Ann arbor, Ypsilanti, Pontiac, Port Huron, Lansing, Flint, Saginaw, Bay City and Midland. Section two, the Ohio and Indiana campaign, included Cleveland and its suburbs, Toledo and suburbs (including Adrian and Monroe, Michigan), Indianapolis and suburbs and Fort Wayne. Section three, North Dakota, Minnesota and upper Michigan peninsula campaign, included the towns around Fargo and Grand Forks, North Dakota from Houghton and Calumet, down to Escanaba and over to Sault Ste. Marie in the upper Michigan peninsula. The procedures for conducting the campaign; information relating to sampling territories; shipping schedules for coffee samples from the warehouse in Edgewater, New Jersey; notes relating to sampling figures; instructions for carriers; 1etters and booklets to grocers; radio announcements; coffee grams; pages from telephone directories for Grand Rapids, Michigan, Peoria, Illinois and Milwaukee, Wisconsin and an article from the Detroit News Booster dated September 1941 about the campaign are included among the materials. In addition, there is a small amount of material related to sampling campaigns conducted from 1928-1934. Materials are arranged in chronological order by date.
Subseries 4.9, General Files, 1923-1978; undated consist of information used primarily by the company as reference materials. There is information on coffee advertising; the history of the National Broadcasting Company (NBC) advertising; correspondence; jig saw puzzle advertisements; printed advertisements; memorandum relating to original vacuum pack; excerpts of letters written by the advertising department in 1948; scrapbook of competitor's instant coffee advertisements in San Francisco; outline of merchandising, sales promotion activity in 1930-1952 with correlation bar chart and cross reference to advertising report, ground and instant coffee television advertising history; advertising plan for ground and instant coffee; budget proposal; information on outdoor advertising; scripts for radio commercials; advertising plans for instant coffee; dealers information on radio and television advertising and materials relating to electrotypes and mats. The materials are arranged in chronological order by date.
Subseries 4.10, NW Ayer Advertising Agency Materials, 1943, 1958 consist primarily of the scrapbooks that were created by the agency in 1958 for Shirley Temple's Storybook. This program was a series of sixteen hour-long children's programs on National Broadcasting Company (NBC). Hills Bros. Coffee sponsored the programs which included Beauty and the Beast, Rumpelstiltskin, Nightingale, Legend of Sleepy Hollow, Dick Whittington and his Cat, Land of Green Ginger, Sleeping Beauty, Rip Van Winkle, Little Lame Prince, Magic Fishbone, Wild Swans, Hiawatha, Rapunzel, Ali Baba, Emperor's New Clothes and Mother Goose. The scrapbooks were assembled in the order that the programs aired and included clippings for the public and the trade. In addition, there is a menu for an event for Hills Bros. and NW Ayer employees in 1943.
Subseries 4.11, Foote, Cone & Belding Advertising Agency Materials, 1963-1968; undated, consists of material created for print, radio and television advertisements. There is a list of printed advertisements and examples of the ones that were created from 1963-1967. There are also scripts that were created for radio commercials dating from 1967-1968. Some of the printed advertisements are from the same campaigns as the radio commercials. The bulk of the material is storyboards created for television commercials and advertising instant coffee from 1965-1967. These materials are arranged in alphabetical order by title. In addition, there are also competitive consumer promotion and publicity reports prepared by the agency for Hills Bros. These materials informed Hills Bros. about the advertising activities of major competitors. The reports date from 1967-1968 and include information about Butter-Nut, Chase & Sanborn, Folgers, Maxim, Maxwell, MJB, Nescafe, Tasters Choice and Yubon. The materials are arranged in alphabetical order by the name of the company.
Series 5, Photographs, 1882-1973; undated, document advertising, company activities, office buildings, plants, packaging, grocery store displays, window and wall displays, employees and the coffee trade. Company photographer, Ken P. Allen, is credited with many of the company related images and some relating to the coffee trade. Most of the photographs are labeled and have negatives. Documentation for some of the photographs can also be found in other portions of the collection. The series is divided into twelve subseries.
Subseries 5.1, Employees, 1882-1961; undated, document the activities of people working for the company. Company employees consist of factory workers, salesmen, and executives. Company executives include Austin Hills, Reuben Hills, Edward E. Hills, Herbert Gray Hills, Leslie W. Hills and T. Carroll Wilson. A number of the employee photographs were created for company publications. Some of the company activities include female employees in the preparedness parade, the company basketball team, a groundbreaking ceremony, salesmen conventions, managers' meetings and coffee testing or cupping. The materials are arranged in chronological order by date.
Subseries 5.2, Division Offices, 1924-1931; undated, include images of Hills Bros. offices across the country including Butte, Chicago, Denver, El Paso, Kansas City, Los Angeles, Milwaukee, Phoenix, Portland, Salt Lake City, San Francisco, Seattle, Spokane, and Wichita. These photographs document both the work stations of the region and Hills Bros. personnel in their work environment. The interior and exterior of the division offices are also shown. There is one image of an unidentified office. Materials are arranged in alphabetical order by the name of the city in which the offices are located.
Subseries 5.3, Facilities and Vehicles, 1927-1973; undated, primarily document the work environment and social spaces for many of the plant and factory workers. There are a number of images of female employees engaged in work. Some of the photographs show machinery used for transporting bags of green coffee into the warehouse, controlled roasting, vacuum packing, and granulation control. The architectural design, construction and outside views of the Edgewater Plant, 1939-1940, are also included among these materials. The location of this plant was critical for shipping green coffee up the Hudson River from the New York Harbor to the plant. In addition, there are images of trucks used by the company. Images of the cafeteria dating from 1927 and exhibits for employees dating from 1938-1968 are also found among these materials. The materials are arranged in chronological order by date.
Subseries 5.4, Advertising, 1925-1959; undated includes images of the various logos, designs, displays and illustrations used by Hills Bros. throughout the years. There are a number of images of the Arab trademark photographed in various settings. Many of the images have negatives and include advertising forms, point of purchase displays, outdoor displays, food show exhibits, newspaper advertisements, a 1940 medal award for newspaper campaign advertising and selling, service cards and displays installed by advertising service men. Most of the materials are dated and are arranged in chronological order.
Subseries 5.5, Sales, circa 1921-1939; undated, consist of photographic materials maintained by Hills Bros. for use in sales presentations. Included among these materials is an incomplete set of plates from a jobber portfolio for the Midwest area dating from 1921-1922. There are also a number of negatives of sales maps dating from 1931-1939 and telephones. Materials are arranged in chronological order by date.
Subseries 5.6, Packaging, 1884-1969; undated includes both prints and negatives of containers used by Hills Bros. to prepare and store coffee products. There are images of boxes, cans, glass jars, coffee guides and coffee pots. An evolution of packaging design as it relates to historical events is evident throughout the images. Of note are prints of the Hills Bros. coffee cans in the paintings by artist Fred Machetanz dating from 1969. The materials are arranged in chronological by date.
Subseries 5.7, Grocery Store Displays, circa, 1901-1935, contain the largest amount of materials in this series. Hills Bros. photographer, Ken Allen visited a number of retail grocers around the country to document Hills Bros. coffee displays. Some of these photographs were used in broadsides created by Hill Bros. entitled "Interesting Grocery Stores" and "Before and After." The broadsides were created from 1928-1933 with the retail grocer as the target market. Approximately 30,000 broadsides were mailed to customers. The photographs are identified by the name of the store and location. Most of the prints also have negatives and correspondence granting Hills Bros. permission to publish the photographs. Materials are arranged in alphabetical order by the name of the grocery store.
Subseries 5.8, Store Tests, 1938, consists of photographs, negatives, reports and drawings from merchandising tests conducted in grocery stores in California, Arizona, Oregon, Missouri and Minnesota. "Before" photographs document shelf displays while the "after" photographs document the new floor displays. Reports on the corresponding sales figures used to promote Hills Bros. merchandising service in retail grocery stores are also include among the materials. The materials were maintained in the order that they were created by the company.
Subseries 5.9, Window and Wall Displays, 1928, 1930, 1934, contain a large number of photographs documenting the installations of window and wall displays. The displays were created by the advertising department in San Francisco and given to advertising service representatives as patterns for the installations. Advertising service representatives operated throughout the entire marketing area from the Pacific Coast to Chicago. It was custom to visit every grocery store at least once a year. Representatives offered to install a window display or wall display free of cost to the store. The materials are arranged by number and include some duplicates.
Subseries 5.10, Publicity, 1933-1936; undated, include photographs and correspondence that were maintained by Hills Bros. for publicity purposes. A large portion of the photographs consist of Hollywood movie stills with scenes using Hills Bros. coffee primarily from the 1930s. There is a substantial amount of material on the Metro-Goldwyn-Mayer Studios, Incorporated polar expedition (1933) for the production of the movie "Eskimo." Based on the novel of the same name by Peter Freuchen, a Scandinavian surveyor, the movie chronicles his experiences charting the North Arctic Zone for use in maps put out by the Danish government. The Metro-Goldwyn-Mayer Studios, Incorporated crew was sent above the Arctic Circle to film the production using natives. A supply of Hills Bros. coffee was included among the food provisions to last the crew for a year. Photographs of the expedition and movie stills were later used by Hills Bros. for advertising in grocery stores. In addition, there is also a newspaper article from the Citizen News dated January 1934 that discusses the adventures of the cast and crew of Eskimo. The materials are arranged in chronological order by date.
Subseries 5.11, Miscellaneous, 1898-1949; undated, is a random mix of images including the return of troops from the Spanish American War on Market Street; Boeing Air Transportation, Incorporated; Frank Goss from the Columbia Broadcasting System; Fresno Bee National Recovery Administration; Infants' Choir; Kinner Airplane and Motor Corporation, Ltd.; gold miners with hot coffee by the camp fire; and Fred N. Palmiter. The materials are arranged in chronological order by date.
Subseries 5.12, Coffee and Tea Industry, 1900s-1947; undated, consist of prints and negatives relating primarily to the cultivation, growth and processing of green coffee. A number of these images document women laborers from Guatemala and El Salvador examining, hand picking and sorting coffee beans. The photographs were created to illustrate the production process in the 1930s. A photograph of Mr. and Mrs. C. H. Brown on a coffee buying trip in the 1900s is also included among the materials. There are photographs of coffee mills and Hills Bros. Company's participation in food shows. In addition, there are some images relating to the tea trade including the loading of tea in Asia. Materials are arranged in chronological order by date.
Series 6, Sales and Marketing Records, 1906-1989; undated, primarily consist of the materials that were created by the company to communicate with the sales force. Bulletins and correspondence make up the bulk of these materials. There are also materials that were used by salesmen on a daily basis while conducting business in the field. Some of the activities of the sales department including meetings and conventions are also documented. In addition, market research, reports and studies inform the sales department about the coffee industry and consumer consumption. The materials are divided into eight subseries.
Subseries 6.1, Bulletins for Salesmen, 1912-1969 were created and distributed by the company to keep the sales force informed about sales activities. Some of the earlier bulletins contain quotes by Reuben Hills. As the primary means of communication from management to the sales force, this body of materials is rather extensive and documents over a period of time issues, concerns, advertising, sales approach of the company and changes in price structure. Eventually the bulletin system phased out due to extensive use of telephone and computer communication. The San Francisco division has some of the earliest bulletins. The materials are arranged first in alphabetical order by division or city and then in chronological order by date.
Subseries 6.2, Division Bulletins and General Letters, 1925-1927 include the correspondence that was distributed to the different divisional regions including Denver, Kansas City, Los Angeles, Minneapolis, Portland and Salt Lake City. These materials were created for the salesmen and provide information on progress reports, goals of the company and sales techniques. The materials are arranged in alphabetical order by division and then in chronological order by date.
Subseries 6.3, Correspondence, 1919-1989, include general letters to sales representatives, memos, and management letters. The materials primarily document sales activities but also include the perspective of the entire company. Letters discuss trading in the green coffee market, special promotions, divisional sales performance, dealer coffee inventories, policy changes, etc. In 1962, the name of the management letters was changed from Monday to weekly; however, the company maintained the same format. The letters are arranged in chronological order by date.
Subseries 6.4, Conventions and Meetings, 1915-1971, consists primarily of programs and menus from sales conventions dating from 1915-1943. These materials provide valuable information about the activities at the sales conventions and include the location and agenda for each meeting. There are some song books that were used at the conventions. (See series five for photographs of the sales conventions). There is also information from the divisional managers' meetings which include new sales and marketing strategies and date from 1935-1956. In addition there are materials from a NED sales meeting, a District sales meeting in Philadelphia, Pennsylvania in 1966 and a sales meeting and marketing presentation in Buffalo, New York in 1971. The materials are arranged in chronological order.
Subseries 6.5, Salesmen Materials, 1906-1973; undated provide valuable information about the tools that informed the sales force. It includes materials given to salesmen upon employment and information needed to conduct daily business transactions in the field. Some of the earliest materials are a salesman's notebook dating from 1906 and a sales department territory book for the western region dating from 1907-1908. There are reference and instruction books dating from 1912-1949. Instruction books were created to provide tips and instructions on how to improve sales performance. Materials relating to salaries date from 1925-1937 and contain information on most of the sales representatives charted over this time period and presented in yearly earnings. There is a substantial number of price lists, pocket sized cards containing prices of various products, carried by each sales representative and dating from 1925-1969. An order form book, order forms and delivery forms also carried by the sales representatives are included among the materials. In addition there are monthly sales standing dating from 1931-1935, instructions on the pickup and disposition of unsalable coffee, a 1973 sales presentation and the territorial arrangement of the city of Chicago in 1930. Materials are arranged in chronological order by date.
Subseries 6.6, Reports and Studies, 1941-1978 primarily inform the company about the sales of the various coffee products primarily by division, territory or state. There is a study that compares the sales of ground and instant coffee by division. An exploratory study concerning consumer attitudes toward freeze dried coffee conducted in August and September in 1968 is also included among the materials. In addition, two studies from the 1970s relating to sales force capacity and high yield coffee can also be found among the materials. The materials are arranged in chronological order by date.
Subseries 6.7, Marketing Research, 1956-1978; undated consist of reports, research studies and surveys created by Hills Bros. and outside companies relating to various aspects of the coffee trade and consumer market. The materials include information on criteria for label design, packaging, types of coffee consumed, brand images, how advertising affects consumption and marketing plans. In addition there is a study investigating the economic and financial aspects of the United States coffee industry created in 1978 and an undated copy of the Brazilian coffee performance marketing plan. The materials are arranged in chronological order by date.
Subseries 6.8, Pricing Information, 1949-1965 include correspondence, press releases and company memos relating primarily to coffee importation and pricing. There is some correspondence between Hills Bros. and the Office of Price Stabilization relating to regulations from the federal government concerning the exchange rate of green coffee and coffee prices to the consumers. The materials are arranged in chronological order by date.
Series 7, Employee Records, 1934-1966, contain useful information relating to the employees and what it means to work for the company. Service and retirement materials include an executive employee service record created in 1934. It is a list of employees in upper management including the name, date of employment, and length of service. There is information on retirement plans for employees in 1953. A list of the retirement dates, birth dates, and employment dates for employees who were participants in the retirement plan from 1953-1959 is also included among the materials. A photograph of a silver plate commemorating the fiftieth anniversary in 1967 of Eugene F. Hoelter with the company is included among these materials. Employee guides from the 1960s provide information on the company's perception of its position in the coffee industry, short histories of the company, the organization of the company, and employee benefits. There is also general information and instructions for plant employees at the Edgewater, New Jersey plant which is undated. In addition, there is Herbert Grey Hills's company identification card and exhibitor's employee's pass. Materials are arranged in chronological order by date.
Series 8, Accounting and Financial Records, 1903-1960; undated include some of the earliest materials from the company that were not destroyed in the 1906 fire and documents the sale of other products such as tea. There is a distributor's notebook dating from 1903-1904 with a 1925 letter enclosed inside. Record books dating from 1904 provide information relating to coffee stock distribution. They also contain information relating to tea distribution by the company and pricing. Coffee acquisition ledgers dating from 1906-1917 are grouped according to the kind of coffee bean which refers to the general region or seaport from which the beans originate including Ecuador, Mexico, Costa Rica, El Salvador and Guatemala. There is one exception which is listed by stock number and contains mixed kind categories. The ledgers provide stock numbers, mark, quantity, location of coffee bean purchases, date of purchases, costs and grades. Entries are not consistently in chronological order by month. There are also a number ledgers maintained by the company that record information relating to retail grocers and how much they purchased from the company including product types, prices and quantities ordered. Analysis of expense account records date from 1917-1921. A tea acquisition ledger dating from 1920-1923 is divided into groups including natural leaf, Oarjeeling, Hilvilla Black, Ceylon, Java, Oolong, Gunpowder and sample (green and black). Information about stock numbers, mark, quantities, invoice weight, house weight, C.F.I. date, and where the tea was purchased can be obtained through these records. In addition there are financial statements dating from 1959-1960 and an undated coffee stock book. Materials are arranged in chronological order by date.
Series 9, Office Files, 1915-1970; undated consist of materials relating directly to the business of the company and some materials that were kept on file probably as reference information. The series is divided into two subseries. Subseries one is general materials and includes court documents, correspondence, manuals, maps and some images. Subseries two is T. Carroll Wilson's correspondence dating from 1941-1970.
Subseries 9.1, General, 1915-1969; undated includes information relating to the company's participation in the Panama Pacific International Exposition in 1915. At the exposition Hills Bros. installed and operated the first automatic machine created to vacuumed-pack coffee. Other materials from the expo include rules and regulations governing the delivery, location, installation, maintenance and transportation of exhibits and merchandise. The Museum's Division of Cultural History has some of the artifacts relating to the exposition.
Legal records including court documents for the Federal Trade Commission versus Hills Bros. Company case in 1925 and the United States Department of Justice, Anti-Trust Investigation, 1948 are included among the materials. There are correspondence granting Hills Bros. exclusive rights to use "Hot Coffee" for radio and advertising purposes. There is also information relating to the company's cooperation with the National Recovery Administration, President's reemployment agreement. In addition there is correspondence collected by the company relating to rumors, religion and race dating from 1958-1964 and correspondence about the jig-saw puzzle campaign.
Packaging materials dating from 1931-1969 primarily document the history and uses of various types of containers used by Hills Bros. for its products and labels. A paper written by Ralph Vilas discussing the historical evidence of vacuum packaging from 1931-1934, correspondence and photographs of packaging for the "Blue Brand", an article discussing the selling and merchandising of carton coffee, memos and newspaper clippings relating to vacuum packing, a paper discussing the tinplate used in can making, requirements for packaging and information relating to the coffee can using an Ansel Adams' photograph are all included among these materials.
In the 1930s Hills Bros. created the Arab Chronicle and Broadsides which were primarily distributed to retail grocers. The broadsides were the size of newspapers and folded to about one-sixth of a page for mailing. They consisted of photographs, advertisements, information relating to new advertising campaigns, advice to increase sales and news of events around the world. In addition to completed copies of the broadsides there are also drafts of the articles for each issue.
Hills Bros. opened a coffee house in 1958 at Disneyland in Anaheim, California. The Hills Bros. Coffee House operated as a restaurant for several years and provided a sandwich type menu with its coffee products. It was also used as a facility for taste-testing by the marketing research department.
In the 1960s Hills Bros. owned and operated three vans known as Hillsmobiles. The Hillsmobiles were used to promotion sales in various communities. The vans would ride through the neighborhoods distributing free samples of coffee. Included among the materials are letters and memos, manuals for the promotion and operation of the hillsmobiles as well as photographs, images and negatives of the vehicles.
Random materials include a Gertz Bros. Company catalogue dating from 1925, information about Chase and Sanborn coffee, maps illustrating where to go in New England, a marketing map of the United States used as a practical aid for economic sales and advertising and information about St. Augustine's oldest store museum. The materials are arranged in chronological order by date.
Subseries 9.2, T. Carroll Wilson Correspondence, 1941-1970 relate primarily to his association with the National Coffee Association. The materials date from April 7, 1941 to December 8, 1970. The correspondence is arranged in chronological order by date.
Series 10, San Francisco-Oakland Bay Bridge Materials, 1933-1986; undated, provide background information and a photographic almost daily account of the construction. Leslie Hills suggested placing a camera mount on the parapet of the building on Harrison Street at the beginning of the construction. From this position Ken P. Allen documented the progress until its completion in 1936. Allen also created motion film of the construction from the same position. The State Bridge Authority produced a movie in 1940 using the Hills Bros. materials. The series is divided into two subseries. Subseries one is the textual records that provide background information on the construction of the bridge. Subseries two is the photographic materials documenting to the construction.
Subseries 10.1, Background Information, 1933-1986; undated, include correspondence between Hills Bros., the State Department of Public Works and the California Commission for the Golden Gate International Exposition in reference to Hills Bros. providing the state with the original negatives of its films. The two organizations used these materials to develop a motion picture for the Golden Gate International Exposition. A list of the scenes for reels two and three and a script of the movie are also included. There are black and white photographs of the construction of the bridge and a photograph of Charles Henry Purcell, chief engineer, taken by Ken Allen. In addition there is a newspaper article from the San Francisco Chronicle dating from 1986. Materials are arranged in chronological order by date.
Subseries 10.2, Photographic Materials, 1933-1936; undated, consists of 8 x10 and 4 x 5 black and white negatives of the construction of the Bay Bridge. Most of the negatives are dated. The materials are arranged first by size and then by date in the order that they were created.
Series 11, Golden Gate International Exposition Materials, 1915-1940; undated, primarily document the construction and management of the Arabian Theater. The Arabian Theater was located inside the Food Pavilion on Treasure Island. A color and sound version of the film "Behind the Cup: The Story of Hills Bros." was created and shown in the theater. Materials include correspondence, blueprints, photographs, newspaper articles, forms, insurance documents, passes and visitors comments. Other materials relating to the Golden Gate International Exposition can also be found in volume seven of the historical albums in series four subseries two. The series is divided into nine subseries. The materials were maintained in the order created by the company.
Subseries 11.1, Coffee Theater, circa 1939, include correspondence between Hills Bros. and NW Ayer about the creation of the murals in the theater. There is also information concerning script creation, production, promotion and the success of the Behind the Cup film. In addition there is information relating to the theater staff, visitor comments and the general management of the theater. The materials are maintained in the order that the company kept them.
Subseries 11.2, Exposition Attendance, 1915-1940, contains comparisons of the 1915 and 1939 attendance figures, statistics on paid and non-paid admission, operating period, average gate receipt, total paid and non-paid admissions. Daily attendance records document numbers for the fair, theater, monthly totals and the weather. In addition, hourly attendance includes time, entrance, and cumulative totals. The materials are maintained in the order that the company kept them.
Subseries 11.3, Correspondence, 1937-1940; undated, includes both incoming and outgoing communications between Hills Bros. and the Golden Gate International Exposition Company. These letters discuss permits, contracts and agreements, payment, approval for construction, regulations, applications of exhibit colors, shipment procedures, etc. The materials are maintained in the order that the company kept them.
Subseries 11.4, Construction, 1937-1940; undated, contains information on the building of the food and beverage facility. There is correspondence and invoices relating to payments; removals; services including telephone, water, gas, electricity; estimates, and furniture. Fire insurance documents contain information on the types of coverage and public and regular liabilities. In addition there is information relating to exhibitors questionnaire and endorsements, cost of exhibit space, permission to dismantle forms, application for exhibit space and an application for a construction permit. The materials are maintained in the order that the company kept them.
Subseries 11.5, Blueprints, 1937-1939, were created by the architect Harry A. Thompsen Jr. These blueprints include the foundation plan, the main floor plan, the lobby, the auditorium, front and side elevations, details of the upper chenau, and the mezzanine. There are also plans of Vacationland, the health and education building and the science building. A small amount of material exists on the sandwich slide, prices of coffee, average revenue and expenses, coffee equipment, coffee making instructions, the production of sales, the menu and an inventory of cups and saucers and the heating and ventilation system. A description of Threlkeld's restaurant and a history of the Threlkeld's Commissary Company are also included. The materials are maintained in the order that the company kept them.
Subseries 11.6, Behind the Cup, 1937-1940; undated, contains correspondence between Hills Bros. company executives and the Consulate General of El Salvador relating to filming in El Salvador and Guatemala for the "Behind the Cup" movie. There are also newspaper clippings from San Salvador, a translation of the script and a photograph of T. Carroll Wilson and Ken P. Allen. Other materials include correspondence between Ken Allen and T. Carroll Wilson, releases for photographs, camera reports, narration arrangements and contracts. A copy of the "Behind the Cup" booklet which was produced by the NW Ayer Advertising Agency is also included. The materials are maintained in the order that the company kept them.
Subseries 11.7, Newspaper Cooperation, 1939, contain clippings about "Behind the Cup" in Chicago, Illinois; Denver, Colorado; Kansas City, Missouri; Los Angeles, California; Minneapolis, Minnesota; Portland, Oregon; and San Francisco, California. The materials are maintained in the order that the company kept them.
Subseries 11.8, Solicitations and Replies, 1938-1940, contain letters to Hills Bros. with replies attached. In addition there is information on the type of equipment or services available for use by Hills Bros. at the expo, business cards, postcards and promotional materials. The materials are maintained in the order that the company kept them.
Subseries 11.9, Miscellaneous, 1938-1940, contains a scrapbook including descriptions, images, a listing of business and industry participants, brochures, general summaries, construction of buildings, government involvement in the expo, personnel article and rules and regulations governing the transportation of exhibits. There is also information on the sandwich slide, model freight cars, Treasure Island employees and articles from the San Francisco Chronicle. The materials are maintained in the order that the company kept them.
Series 12, World War II Materials, 1942-1949; undated, primarily document the United State government's coffee rationing and wartime packaging requirements. The United States War Production Board issued regulations designed to control the use of metals during this time period which greatly affected the coffee industry. These materials reflect the impact of rationing and regulations not only on the coffee industry but Hills Bros. in particular. The company's response to these measures is documented among these materials. The series is divided into six subseries.
Subseries 12.1, Production and Quotas, 1942-1946, is a compilation of correspondence, memos and conservation orders from the War Production Board maintained in the files of Herbert Grey Hills and T. Carroll Wilson. These materials relate to production quotas of coffee for roasters; restrictions on manufacture, sale and delivery of glass containers; price differential in relation to ceiling prices; small buyers and consumers accounts; new accounts and the exchange of brands and sizes. A copy of the National Coffee Association Bulletin: War Production Board, Conservation orders M135 and a copy of the red can brand quota plan dating from 1944-1946 is also included among these materials. Materials are arranged in chronological order by date.
Subseries 12.2, Rationing, 1939-1946, consists primarily of correspondence, orders, instructions and forms from the War Production Board concerning quotas for coffee distribution and production, allowable inventory and operating inventory, ration stamps or certificates and army and navy re-orders. Post-rationing sales control and how it would affect or apply to consumers and the armed forces is also discussed. Materials are arranged in chronological order by date.
Subseries 12.3, Containers and Closures, 1942-1949; undated, is government orders relating to quotas on size and standards for glass jars and closures, shipping containers, cans and glass jar labels. Hills Bros. specifications based on these orders is also included. There are photographs of glass jar products, discussions on original art work for labels and considerations for packing and shipping. Materials are arranged in chronological order by date.
Subseries 12.4, Appeals, 1948, are a group of materials compiled as a presentation to the United States Department of Commerce by the Packaging and Container Committee of the National Coffee Association. This presentation was submitted on April 22, 1948. It is the National Coffee Association's attempt to use cans again.
Subseries 12.5, Advertising Campaigns, 1942; undated include correspondence relating to the "Gone with the Tin" advertising campaign. Along with the correspondence are announcements for the campaign, newspaper clippings and positive feedback from the public attesting to Hills Bros. participation in winning the war while still providing customers with the best possible products. There is also information relating to the "Waste is a Fighting Word Today" advertising campaign. Favorable responses and announcements for the advertisements are included among the materials. In addition there are some miscellaneous forms. Materials are arranged in chronological order by date.
Series 13, Machinists Strike Scrapbooks, 1945-1946, consist of three scrapbooks of press clippings covering the machinist's strike that occurred in San Francisco over more pay and less hours. Hills Bros. Coffee plant which was identified as one of the big "fringe shops" was impacted by the strike due to a few maintenance machinists' participation. Hills Bros. warned grocers and their customers not to expect large supplies of coffee due to the strike. The scrapbooks are arranged in chronological order by date.
Series 10, Audiovisual Materials, 1934-1984; undated, consists of film, vifro, and sound recordings including television and radio commercials, television and radio programs, promotional materials and Hills Bros. company activities. Hills Bros. had a photography and filming unit that began producing motion picture documentation of Hills Bros. activities in the early 1930s. This effort resulted in a detailed documentation of the construction of the San Francisco-Oakland Bay Bridge (Bridging the Bay, 1938-39) and a promotional film that was shown at the Golden Gate International Exposition Fair (Behind the Cup, 1939). In addition, Hills Bros. became involved with radio programming and advertising in 1934 and television advertising in the early 1950s. The collection includes a substantial number of television commercials dating from 1951-1984 as well as television programs that were sponsored in part by Hills Bros. including Shirley Temples Storybook (1958) and Meet Me at Disneyland (1962). The series is divided into six subseries.
Subseries 13.1, Moving Images, 1951-1984 consists of television commercials, television programs, film and video documentation of corporate activities. The subseries is further organized into five subsubseries.
Subsubseries 13.1.1, Television Commercials, 1951-1984, consist of a representative sample of Hills Bros. television commercials beginning with their first efforts in the early 1950s. The commercials were created by a succession of adverting agencies beginning with N.W Ayer and including Doyle, Dane, Bernbach; Foote, Cone, and Belding; and Wells Rich Greene/West. Products advertised include Hills Brothers regular roast, instant, drip roast, high yield, and flavored "European Style" coffees.
Subsubseries 13.1.2, Television Programs, 1951-1967, consist of television programs that were sponsored, in part, by Hills Bros. coffee or that were related to Hills Bros. Hills Bros. major television sponsorship effort resulted in several series including Shirley Temple's Storybook (1958), Meet Me at Disneyland (1962), Bat Masterson (1959-60), and Lead off Man (1964). Hills Bros. also provided consultation services for the program Science in Action (1951) as well as major funding for NET Festival White House Red Carpet (1967).
Subsubseries 13.1.3, Promotional Materials, 1939-1977, include material created by the company to promote their products and activities. This series includes two films of particular interest. Behind the Cup: The Story of Hills Bros. Coffee (1939), created for the Golden Gate International Exposition Fair, was produced in 35mm Cinecolor for theatrical screening. Also of note are two short films probably produced for screening at a meeting of Hills Bros. employees. In the first Gene Barry, star of Bat Masterson and Hills Bros.' spokesman describes the next season's plans for Bat Masterson and presents a portion of a proposed episode. In the second film Walt Disney talks about his company's plans for the next year including additions to Disneyland and planned episodes of Walt Disney Presents.
Subsubseries 13.1.4, Hills Bros. Activities, 1930-1962, consists of primarily 16mm "home movie" documentation of activities as diverse as the 1941 Detroit Sampling Campaign, coffee production in El Salvador, and activities in the Hills Bros. processing plant.
Subsubseries 13.1.5, Miscellaneous Film and Video, 1938-1966, includes films about coffee, travelogues, and a substantial amount of film documenting the construction of the San Francisco Oakland Bay Bridge.
Subseries 13.2, Sound recordings, 1934-1964; undated, include materials from Hills Bros. and other coffee manufacturers. There are the radio series Tune of the Day which includes Hills Bros. commercials, Hills Bros. radio commercials, Shirley Temple "Dreams Are Made for Children" produced by Columbia Pictures Corporation, Maxwell House Coffee programs and a coffee jingle from the Pan American Coffee Bureau.
Subsubseries 13.2.1, Radio commercials, undated, consists of the radio versions of commercials for various advertising campaigns.
Subsubseries 13.2.2, Radio Programs and Other Broadcasts, circa 1934-1964; undated, includes the Tune of the Day series, Ruth Ashton's Women's News Desk and two baseball broadcasts.
The collection is arranged in thirteen series.
Series 1, Hills Family Papers, 1856-1942; undated
Subseries 1.1: Austin Herbert Hills, Sr. Papers, 1856-1875; undated
Subseries 1.2,: Austin Herbert Hills, Jr. Papers, 1875-1923
Subseries 1.3: Herbert Gray Hills Correspondence, 1923-1942
Series 2: Background Materials, 1896-1988; undated
Series 3: Coffee Reference Files, 1921-1980; undated
Subseries 3.1,: Hills Bros. Coffee Company Literature, 1921-1976; undated
Subseries 3.2: Coffee Industry Literature, 1924-1980; undated
Series 4: Advertising Materials, circa 1890s-1987; undated
Subsubseries 13.2.2, Radio Programs and Other Broadcasts
Biographical / Historical:
These records were donated to the Archives Center, National Museum of American History by Hills Bros. Coffee, Incorporated.
Collection is open for research.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.