Search Results

Creator:

Kamrowski, Gerome  Search this

Names:

Art Students League (New York, N.Y.)  Search this

John Simon Guggenheim Memorial Foundation  Search this

University of Michigan  Search this

Whitney Museum of American Art  Search this

Breton, André, 1896-1966  Search this

Lange, Monique  Search this

Matter, Mercedes  Search this

Rebay, Hilla, 1890-1967  Search this

Sandler, Irving, 1925-  Search this

Interviewer:

Sawin, Martica  Search this

Extent:

8.3 Linear feet

Type:

Collection descriptions

Archival materials

Sound recordings

Interviews

Date:

1938-2004

Scope and Contents:

Biographical material, photographs, project files, subject files, correspondence, printed material and audio visual material concerning Gerome Kamrowski's career as a Surrealist painter.

Biographical material includes curriculum vitae and an interrview transcript with Kamrowski by Michael Sherker. Photographs, slides and negatives are of Kamrowski, his family, studio, artwork, exhibition installations and exhibitions. The bulk of the project files concern individual works of art and include correspondence, reviews, photographs and miscellany. Subject files pertain to the University of Michigan, exhibitions that involved Kamrowski, organizations and people who worked with Kamrowski, and include correspondence and printed material.

Correspondence includes letters from Andre Breton, Monique Lange, Hilla von Rebay, Mercedes Matter, Irving Sandler, and numerous dealers and institutions including the Guggenheim Foundation, The Whitney Museum of Art, the Andre Emmerich Gallery, The Metropolitan Museum of Art, and the Art Students League.

Audio visual material includes an interview on three cassettes of Kamrowski conducted by Martica Sawin, 1986, and three reels of motion picture film footage of sculptures, one labeled "Celestial Rhythms" and the others untitled, 1971. Printed material includes Kamrowski's portfolios, exhibition reviews, catalogs, and announcements, press releases, and newspaper clippings.

Biographical / Historical:

Gerome Kamrowski (1914-2004) was a Surrealist painter in New York, N.Y. and Ann Arbor, Michigan.

Provenance:

Donated 2008 by Mary Jane Kamrowski, Kamrowski's widow.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.

Occupation:

Painters -- Michigan -- Ann Arbor  Search this

Painters -- New York (State) -- New York  Search this

Topic:

Surrealism  Search this

Function:

Artists' studios

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.kamrgero

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93a2ced0e-0a2d-4b79-86e9-dab7b8d534b7

EDAN-URL:

ead_collection:sova-aaa-kamrgero

Creator:

André Emmerich Gallery  Search this

Names:

Galerie André Emmerich  Search this

Sotheby Parke Bernet & Co.  Search this

Sotheby's (Firm)  Search this

Caro, Anthony, 1924-  Search this

Emmerich, André  Search this

Francis, Sam, 1923-1994  Search this

Frankenthaler, Helen, 1928-2011  Search this

Greenberg, Clement, 1909-1994  Search this

Hockney, David  Search this

Hofmann, Hans, 1880-1966  Search this

Louis, Morris, 1912-1962  Search this

Noland, Kenneth, 1924-2010  Search this

Olitski, Jules, 1922-2007  Search this

Pepper, Beverly  Search this

Extent:

311.4 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Visitors' books

Sound recordings

Video recordings

Scrapbooks

Etchings

Date:

circa 1929-2009

Summary:

The André Emmerich Gallery records and André Emmerich papers measure 311.4 linear feet and date from 1929 to 2009. The collection documents the business of the André Emmerich Gallery as well as André Emmerich's life and activities related to the business of selling art. Gallery records include correspondence; appointment books; administrative and subject files; exhibition files; artist files and accounts; inventory, sales, purchase, and consignment records; chronological files; financial and legal records; printed materials; original artwork; photographic and audiovisual materials. Also found are personal papers and records relating to André Emmerich. A small addition received in 2014 includes general correspondence, administrative files, exhibition files, artists' files, inventory records, consignment records, printed material, photographic materials, and André Emmerich personal papers and records.

Scope and Content Note:

The André Emmerich Gallery records and André Emmerich papers measure 311.4 linear feet and date from 1929 to 2009. The collection documents the business of the André Emmerich Gallery as well as André Emmerich's life and activities related to the business of selling art. Gallery records include correspondence; appointment books; administrative and subject files; exhibition files; artist files and accounts; inventory, sales, purchase, and consignment records; chronological files; financial and legal records; printed materials; original artwork; photographic and audiovisual materials. Also found are personal papers and records relating to André Emmerich.

The records document the gallery's daily business operations, exhibitions, and relationships with artists, dealers, clients, galleries, and museums. Artists particularly well-represented throughout the collection include Anthony Caro, Sam Francis, Helen Frankenthaler, David Hockney, Hans Hofmann, Morris Louis, Kenneth Noland, Jules Olitski, and Beverly Pepper.

Records pre-dating the gallery's establishment in 1954 are primarily newspaper and magazine clippings related to artists, personal photographs and photographs of artists, an original etching, and some of André Emmerich's personal records including biographical materials, correspondence, writings, and legal and financial records. Records post-dating the gallery's closure in 1998 are primarily residual business records related to the final disposition of artwork, clippings, photographs of André Emmerich and gallery staff, biographical materials, personal correspondence, writings, legal and financial records, and condolences received by Emmerich's wife upon his death in 2007.

Correspondence is primarily with galleries, museums and clients about business matters. Correspondence files also cover topics such as appraisals, authentications, offers of sale, artists seeking representation, image requests, job applications and recommendations. Also included are the New York gallery's copies of correspondence between the New York staff and the Zurich staff.

André Emmerich's appointment books document appointments, notes, and reminders about Emmerich's business and personal activities. Four appointment books relating to the birth of Emmerich's three sons and second marriage were kept by the family. The appointment books are access restricted and require written permission to use.

Administrative files include corporate records establishing the Andre Emmerich gallery's structure, records documenting the gallery's daily operations, advertising and publicity material, and records about the Sotheby's acquisition. There are also materials related to Top Gallant Farm, from its establishment to its closure. Travel records relate to André Emmerich's business trips and vacations along with some files on the travels of a several staff members at the gallery. Files about the operations of the Galerie André Emmerich in Zurich, Switzerland are included in the series as well.

Subject files relate to Emmerich's gallery business as well as personal and political interests, such as antiquities, art fairs and exhibitions, lecture research, art associations, and sculpture parks. There are several files on the art critic Clement Greenberg and former president of Gay Men's Health Crisis, Nathan Kolodner, who was also an art dealer and director of the Andre Emmerich Gallery.

Exhibition files contain numerous exhibition catalogs and printed materials related to exhibitions held or organized by the André Emmerich Gallery in Manhattan and Galerie André Emmerich in Zurich. The files contain materials ranging such as exhibition invitations, posters, printed materials, press releases, and guest books. Photographs of exhibitions can be found in the Photographic Materials series.

Artist files include biographical materials, clippings, correspondence, mailing lists, price lists, printed materials, and occasionally lectures, writings, and audiovisual materials for many of the artists represented or shown by André Emmerich Gallery. The General Correspondence files might contain duplicates or expanded versions of some of the correspondence. Photographs of artists can be found in the Photographic Materials series.

Artist accounts comprise account statements prepared periodically by the gallery documenting each artist's expenses and sales. Ledgers and general accounting files can be found in the Other Financial and Legal Records series.

Inventory records include inventory cards describing artwork entering and leaving the gallery and files containing various gallery inventories. Artist inventory cards, representing artists from both the New York and Zurich galleries, list the artist, title, date, media and measurements of an artwork. The cards also indicate whether the work was ultimately sold, returned to the artist, consigned, etc., and divided into categories accordingly. Inventory files show various gallery inventories.

Sales records document gallery sales and include paid invoices, records relating to Zurich sales, general sales records such as price lists and canceled sales, and Sotheby's Parke-Bernet auction reports. There are gaps in sales invoices in 1961-1964 and 1969-1971.

Purchase records include correspondence and invoices related to purchases and offers; annotated invoices for works of art bought by the gallery; André Emmerich, Inc. related purchase records; "Non-Modern" art related purchase records.

Consignment records include correspondence and consignment agreements documenting consignments to and from the André Emmerich Gallery; consignments from other galleries to André Emmerich, Inc.; and general consignment records.

Chronological files include copies of invoices or cover letters documenting the movement of artwork into and out of the gallery through sales, consignments, loans, and approvals. Records dating January through August 1968, January through March 1969, and September 1969 through July 1971 are missing.

Financial and legal records include client and partner account statements, resale and exempt organization certificates, accounting ledgers, and legal files related to disputes involving or of interest to the gallery.

Printed materials include auction catalogs and reports, books, and clippings describing André Emmerich, the galleries in New York and Zurich, Top Gallant Farm, and the art world. Also included is a large scrapbook created by the gallery containing clippings and gallery announcements dated 1955-1958. Clippings relating to particular artists can be found in the Artists Files series.

There are two pieces of original artwork in the collection. One is a 1974 print of a 1933 composite etching by Esther Dick Gottlieb, Adolphe Gottlieb, Edgar Levy, Lucille Corcos Levy, David Smith, and Dorothy Dehner Smith. The second is a 1998 lithograph by Louise Bourgeoise, called The Face of the Critic. The artist gave the lithograph as a gift in honor of Robert Hughes and the Archives of American Art and is numbered 61 out of a series of 300.

Photographic materials include prints, slides, negatives, and transparencies. Subjects include artists, André Emmerich, gallery installations, Top Gallant Farm, events, artists' studios, gallery staff, gallery space, and artwork. Photographs which show André Emmerich are indicated as such in the finding aid.

Audiovisual materials includes videocassettes and one audiocassette related to the art world. Videocassettes related to specific artists can be found in the Artists Files series. Videocassettes related to André Emmerich can be found in the André Emmerich Personal Papers and Records series. Videocassettes related to Top Gallant Farm and Sotheby's can be found in the Administrative Files series.

Personal papers and records relating to André Emmerich include biographical materials, personal correspondence, writings and lectures, and legal and financial records. The biographical materials include an address book, interviews and identifying documents. Writings include articles, edits, dissertations, lectures, etc. There are also some miscellaneous correspondence which is organized chronologically.

The small addition received in 2014 includes general correspondence, administrative files, exhibition files, artists' files, inventory records, consignment records, printed material, photographic materials, and André Emmerich personal papers and records.

Arrangement:

The collection is arranged as 19 series:

Missing Title

Series 1: General Correspondence Files, 1958-2006 (boxes 1-18, OV 314-315; 18.2 linear feet)

Series 2: André Emmerich Appointment Books, 1954-2007 (boxes 19, 325, 326; 1.7 linear feet)

Series 3: Administrative Files, 1954-2003 (boxes 20-31, 306, OV 314, OV 316-319; 11 linear feet)

Series 4: Subject Files, 1958-1967, 1971-2000 (boxes 31-32, 306, OV 318, OV 320; 2 linear feet)

Series 5: Exhibition Files, circa 1954-1998 (boxes 32-40, 306, 307, OV 318-322; 8.5 linear feet)

Series 6: Artists Files, 1929-1932, 1938-2007 (boxes 40-68, 307, 308, OV 320-323; 28 linear feet)

Series 7: Artist Accounts, 1958-1998 (boxes 68-81; 13.5 linear feet)

Series 8: Inventory Records, circa 1954-2000(boxes 82-128; 46.5 linear feet)

Series 9: Sales Records, 1959-1998 (boxes 128-168; 40 linear feet)

Series 10: Purchase Records, 1961-1966, 1972-1994 (boxes 168-170; 2 linear feet)

Series 11: Consignment Records, 1961-2002 (boxes 170-177; 7.7 linear feet)

Series 12: Chronological File of Incoming and Outgoing Artwork, 1968-1998 (boxes 178-185; 8 linear feet)

Series 13: Other Financial and Legal Records, 1956-1999 (boxes 186-202; 16.5 linear feet)

Series 14: Printed Materials, 1955-1960, 1965-2008 (boxes 202-204, 308, 309; 3 linear feet)

Series 15: Original Artwork, 1933, 1974, 1998 (box 205, 310; 0.7 linear feet (2 folders))

Series 16: Photographic Materials, circa 1930-1935, 1941-1998, circa 2005 (Boxes 205-296, 311-313, OV 324; 92.8 linear feet)

Series 17: General Audio and Video Recordings, 1985, 1990-1995 (Boxes 297-298; 1.3 linear feet)

Series 18: André Emmerich Personal Papers and Records, 1937-1940, 1946-2008 (Boxes 298-305, OV 321, OV 323; 7.7 linear feet)

Series 19: Addition to the The André Emmerich Gallery records and André Emmerich papers, 1956-2009 (Boxes 328-329, OV 330; 2.1 linear feet)

Historical Note:

André Emmerich (1924-2007) was one of America's most noted contemporary art dealers and opened the André Emmerich Gallery in New York in 1954. The gallery showcased contemporary art, particularly Color Field painting and monumental sculpture.

André Emmerich was born on October 11, 1924 in Frankfurt, Germany. From age 7 he was raised in Amsterdam before emigrating with his family to New York City in 1940. He studied at Oberlin College and developed an interest in pre-Columbian art and antiquities. After graduation, he spent ten years in Paris working as a writer and editor before returning to New York. He married Constance Emmerich and the couple had three sons, Adam, Noah, and Toby.

In 1954 Emmerich opened the André Emmerich Gallery at 18 East 77th Street and initially specialized in contemporary American and European art and pre-Columbian antiquities. In 1956, the gallery moved to 17 East 64th Street, and in 1959 to the Fuller Building at 41 East 57th Street. Emmerich wrote two books about pre-Columbian art, Art Before Columbus in 1963 and Sweat of the Sun, Tears of the Moon: Gold and Silver in Pre-Columbian Art in 1965.

In 1961, Emmerich learned that French and Company, a gallery advised by art critic Clement Greenberg, was closing its department of contemporary art. French and Company had represented Color Field painters Morris Louis, Kenneth Noland, and Jules Olitski. Emmerich immediately invited Louis and Noland to be represented by his gallery. In 1966 he extended the invitation to Olitski as well, and Helen Frankenthaler joined soon after. The gallery's reputation as one of the earliest and most important promoters of Color Field painters was launched.

In addition to Color Field painters, the gallery represented, among others, Pierre Alechinsky, Karel Appel, Milton Avery, Herbert Ferber, Sam Francis, John Graham, Al Held, David Hockney, Hans Hofmann, John Hoyland, Judy Pfaff, Miriam Schapiro, and Anne Truitt.

Until January 1983, sales of pre-Columbian art primarily went through an entity called André Emmerich Inc. (AE Inc.), while sales of contemporary went through the André Emmerich Gallery Inc. (AEG). In 1983, the two entities were merged and operated under the name André Emmerich Gallery Inc.

In 1971, Emmerich began operating a downtown gallery at 420 West Broadway, in SoHo, in space shared with Leo Castelli, Virginia Dwan, and Ileana Sonnabend. In 1972, Emmerich opened a branch of his gallery in Zurich. He incorporated the Galerie André Emmerich Gmbh primarily for the purpose of leasing gallery space in Zurich. Until February 1974, sales of Pre-Columbian art in Zurich were made by an entity called André Emmerich Gallery Inc., New York Filiale Zurich. The Galerie André Emmerich Gmbh was officially liquidated in May 1982. The Filiale was formally closed in October 1996. Galerie André Emmerich also enjoyed a short-lived joint venture with Gimpel & Hanover.

André Emmerich served as president of the Art Dealers Association of America from 1972-1974 and again from 1991-1994.

Emmerich opened a private 150 acre sculpture park, Top Gallant Farm, on his estate in Pawling, New York, in 1982, where he stored and exhibited monumental sculptures by artists his gallery represented including Anthony Caro, Beverly Pepper, Alexander Liberman, Alexander Calder, Mark di Suvero, George Rickey, and Keith Haring. David Hockney painted waves onto floor of the property's swimming pool in 1986. Emmerich operated the sculpture park until 1996.

Emmerich sold his gallery to Sotheby's in 1996. He continued to be affiliated with the gallery until Sotheby's closed the gallery in 1998. Emmerich then began work on his memoir, My Life With Art, excerpts of which have been published in Art News, the Wall Street Journal, and The New Criterion.

Andre Emmerich died in New York 2007 and is survived by his second wife, Susanne Emmerich.

Related Material:

Among the holdings of the Archives of American Art is an oral history interview with André Emmerich conducted by Mona Hadler on January 18, 1993.

Provenance:

The André Emmerich Gallery records and André Emmerich papers were donated to the Archives of American Art by André Emmerich in eight accretions between 1999 and 2002. Two additional accretions were donated by Emmerich's wife Susanne in 2008 and 2009; and by James Yohe, executive director (1990-1999), in 2009 and 2014.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Sculpture, Abstract  Search this

Color-field painting  Search this

Art -- Economic aspects  Search this

Artists' studios -- Photographs  Search this

Function:

Art galleries, Commercial -- New York (State)

Art galleries, Commercial -- Switzerland

Genre/Form:

Photographs

Visitors' books

Sound recordings

Video recordings

Scrapbooks

Etchings

Citation:

André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Leon Levy Foundation.

Identifier:

AAA.andremmg

See more items in:

André Emmerich Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw995f3b4aa-1b0f-46f4-8b5d-e0bf1191a740

EDAN-URL:

ead_collection:sova-aaa-andremmg

Artist:

Louis, Morris, 1912-1962  Search this

Names:

André Emmerich Gallery  Search this

Hirshhorn Museum and Sculpture Garden  Search this

Robert Pierce/Films, Inc.  Search this

Bocour, Leonard, 1910-1993  Search this

Brenner, Marcella, 1912-2007  Search this

Faatz, Anita J. (Anita Josephine)  Search this

Frankenthaler, Helen, 1928-2011  Search this

Greenberg, Clement, 1909-1994  Search this

Noland, Kenneth, 1924-2010  Search this

Truitt, Anne, 1921-2004  Search this

Extent:

17.8 Linear feet

Type:

Collection descriptions

Archival materials

Video recordings

Sound recordings

Interviews

Photographs

Date:

circa 1910s-2007

bulk 1965-2000

Summary:

The Morris Louis and Morris Louis Estate papers measure 17.8 linear feet and date from circa 1912-2007, with the bulk of the material dating from 1965-2000. The collection documents Morris Louis' career as a Color Field painter and founding participant in the Washington Color School, as well as the subsequent administration of his estate by his wife Marcella Brenner. Found within Morris Louis' papers are biographical materials, correspondence, photographs, scattered financial records, notes, writings, printed materials, and a canvas sample. The Morris Louis Estate papers include records of gallery exhibitions, mostly André Emmerich Gallery; artwork inventories; legal records concerning the lawsuit Bernstein v. Brenner; financial records of the sale of Louis' artwork; printed materials; writings about Louis; photographs of exhibition installations and artwork; and project files which include documentation of film projects by Robert Pierce Productions, a catalog raisonne, documentation of PBS documentaries, video recordings of the exhibition "Morris Louis Now", and numerous sound recordings of interviews with artists discussing Morris Louis conducted by Anita Faatz.

Scope and Contents:

The Morris Louis and Morris Louis Estate papers measure 17.8 linear feet and date from circa 1912-2007, with the bulk of the material dating from 1965-2000. The collection documents Morris Louis' career as a Color Field painter and founding participant in the Washington Color School, as well as the subsequent administration of his estate by his wife Marcella Brenner. Found within Morris Louis' papers are biographical materials, correspondence, photographs, scattered financial records, notes, writings, printed materials, and a canvas sample. The Morris Louis Estate papers include records of gallery exhibitions, mostly André Emmerich Gallery; artwork inventories; legal records concerning the lawsuit Bernstein v. Brenner; financial records of the sale of Louis' artwork; printed materials; writings about Louis; photographs of exhibition installations and artwork; and posthumous project files which include documentation of film projects by Robert Pierce Productions, a catalog raisonne, PBS documentaries, video recordings of the exhibition "Morris Louis Now", and numerous sound recordings of interviews with artists, many with transcripts, discussing Morris Louis and conducted by Anita Faatz.

Within the Morris Louis papers (circa 3 linear feet) are scattered biographical materials for Morris Louis and Marcella Brenner. Correspondence is with family friends, artists, and galleries, the bulk of which consists of photocopies. Of note are letters from Helen Frankenthaler, Clement Greenberg, Leonard Bocour, Kenneth Noland, and Anne Truitt. Business records include lists of artwork, receipts for art supplies, and scattered tax records. Six notebooks belonging to Morris Louis contain miscellaneous notes about students, studio rental payments, addresses, travel expenses, and a short list of paintings. There is one notebook of Marcella Brenner's containing notes about expenses and addresses. Also found are printed materials, one canvas sample, and one embossing stamp. Photographs are of Morris Louis, Marcella Brenner, and the Bernstein family.

The majority of the collection (circa 15 linear feet) consists of records created and maintained by Marcella Brenner in the course of managing Louis' estate and posthumous exhibitions and projects. There are numerous gallery exhibition records for many posthumous and retrospective exhibitions between 1965 through 2002, including those held at the Andre Emmerich Gallery, the Hirshhorn Museum, and numerous other U.S. and international galleries and museums. Louis' artwork is documented in highly detailed inventory lists and cards. Legal records document the lawsuit brought by the Bernstein family against Marcella Brenner which began in 1964 and ended in 1970 in favor of Brenner. Financial records document sales.

Printed materials include clippings, exhibition catalogs and announcements, and other miscellaneous materials. Writings include essays about Louis and manuscript copies of the book Trustee for the Human Race: Litigation over the Morris Louis Paintings written by Ruth S. Blau under contract for Marcella Brenner. Photographs are primarily of artwork depicted in exhibition installations. Project files are found for several posthumous documentary film projects and a catalog raisonne, and include a series of audio recordings of interviews of 27 artists conducted by Anita Faatz in 1970-1971. Artists interviewed include Clement Greenberg, Leonard Bocour, Andre Emmerich, Helen Frankenthaler, Kenneth Noland, and many others.

Arrangement:

This collection is arranged as 2 series.

Missing Title

Series 1: Morris Louis Papers, circa 1910s-1998 (2.9 linear feet; Boxes 1-3)

Series 2: Morris Louis Estate Papers, 1947-2007 (14.9 linear feet; Boxes 3-19, OV 20)

Biographical / Historical:

Morris Louis (1912-1962) was one of the earliest American Color Field painters, and, along with other Washington, D.C., painters, formed the movement known as the Washington Color School.

Born in Baltimore, M.D., to Russian immigrants Louis Bernstein and Cecelia Luckman, Morris Louis attended the Maryland Institute of Fine and Applied Arts from 1927-1932 and served as president of the Baltimore Artists' Association in 1935. During the Depression, he worked in New York City on the steering committee of the Easel Division of the Federal Arts Projects of the Works Project Administration (WPA). He exhibited Broken Bridge at the WPA Pavilion of the New York World's Fair in 1939.

In 1947, Louis married Marcella (Siegel) Brenner, and moved to Silver Spring, Maryland, a close suburb of Washington, D.C., where he taught private art classes and continued painting, using his apartment bedroom as a studio. In 1948, Louis participated in the Maryland Artists, 16th Annual Exhibition at the Baltimore Museum of Art, and began using Leonard Bocour's Magna acrylic paint, which he would use exclusively for the rest of his painting career.

In 1952, Morris Louis and Marcella Brenner moved to Washington, D.C. and set up a studio in his home where he would complete his most notable canvases. He began teaching at the Washington Workshop Center for the Arts and met artist Kenneth Noland who was also exploring Color Field painting. Through Noland, Louis met art critic Clement Greenberg in 1953, and they visited artist studios in New York City to study abstract expressionist works, including those by Helen Frankenthaler, Jackson Pollock, and Franz Kline. Louis and Noland were greatly influenced by Frankenthaler's staining technique, and Louis began experimenting with staining methods upon his return to Washington. Clement Greenberg became a life-long advocate for Louis and, in 1954, included Louis in the seminal group exhibition, "Emerging Talent," organized by Greenberg for the Kootz Gallery. In 1960, Andre Emmerich became his dealer in the United States and Lawrence Rubin represented him in Paris.

Using thinned Magna paint and unstretched, unprimed canvases, Louis created his works by rotating the canvas as the paint moved across and soaked in. Between 1958 and 1962 Louis produced three major series of paintings—the Veils, the Unfurleds, and the Stripes. Each series numbered more than one hundred canvases. Louis never documented his exact painting methods and would not allow anyone to watch him work, including his wife. His own worst critic, Louis destroyed many of his paintings that did meet his standards, including a large number of his earliest works and many created between 1954 and 1957. He also designated numerous surviving works for destruction prior to his death.

Louis was diagnosed with lung cancer on July 1, 1962 and died a few months later. The Andre Emmerich Gallery held a previously scheduled exhibition as planned, a month following Louis' death, as a memorial exhibition.

Related Materials:

Also found at the Archives of American Art are the Marcella Brenner journals, 1962-2000. The Maryland Institute College of Art (MICA) also holds papers of Morris Louis and the Morris Louis Estate in their Morris Louis Study Collection.

Provenance:

The Morris Louis and Morris Louis Estate papers were donated by Marcella Brenner in several installments in 1976, 1986, and 1988. Subsequent donations in 2009 and 2012 were donated by Marcella Brenner via Ann M. Garfinkle, Executor. The Anita Faatz interviews were donated in 1976 by Marcella Brenner.

Restrictions:

Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Many of the audio recordings and transcripts of interviews with 26 artists conducted by Anita Faatz in 1970-1971 are access restricted and written permission is required from the person interviewed. Please contact reference services for more information. Any use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- United States  Search this

Topic:

Transcripts  Search this

Washington Color School (Group of artists)  Search this

Law and art -- United States  Search this

Color-field painting  Search this

Art -- Study and teaching  Search this

Art, Modern -- 20th century  Search this

Abstract expressionism  Search this

Genre/Form:

Video recordings

Sound recordings

Interviews

Photographs

Citation:

Morris Louis and Morris Louis Estate Papers, circa 1910s-2007, bulk 1965-2000. Archives of American Art, Smithsonian Institution.

Sponsor:

Partial funding for the processing of this collection was provided by the Marcella Brenner Revocable Trust.

Identifier:

AAA.louimorr

See more items in:

Morris Louis and Morris Louis Estate papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ecc509be-66ed-4df5-9632-537bc9cf40ed

EDAN-URL:

ead_collection:sova-aaa-louimorr

Creator:

Liberman, Alexander, 1912-1999  Search this

Names:

André Emmerich Gallery  Search this

Bennington College  Search this

Museum of Modern Art (New York, N.Y.)  Search this

Solomon R. Guggenheim Museum  Search this

Barr, Alfred H., Jr., 1902-1981  Search this

Beaton, Cecil Walter Hardy, Sir, 1904-  Search this

Cartier-Bresson, Henri, 1908-  Search this

Chernow, Burt  Search this

Dalí, Salvador, 1904-1989  Search this

De Kooning, Willem, 1904-1997  Search this

Dietrich, Marlene  Search this

Emmerich, André  Search this

Frankenthaler, Helen, 1928-2011  Search this

Greenberg, Clement, 1909-1994  Search this

Hopps, Walter  Search this

Klein, William  Search this

Kline, Franz, 1910-1962  Search this

Leibovitz, Annie, 1949-  Search this

Motherwell, Robert  Search this

Mulas, Ugo  Search this

Namuth, Hans  Search this

Newman, Barnett, 1905-1970  Search this

Newton, Helmut, 1920-  Search this

Parks, Gordon, 1912-2006  Search this

Parsons, Betty  Search this

Penn, Irving  Search this

Picasso, Pablo, 1881-1973  Search this

Ritts, Herb  Search this

Snowdon, Antony Armstrong-Jones, Earl of, 1930-  Search this

Steichen, Edward, 1879-1973  Search this

Vogel, Lucien  Search this

Vreeland, Diana  Search this

Extent:

59 Linear feet

Type:

Collection descriptions

Archival materials

Drafts (documents)

Drawings

Scrapbooks

Interviews

Photographs

Sketches

Sound recordings

Transcripts

Video recordings

Date:

circa 1912-2003

Summary:

The papers of sculptor, painter, and publishing executive Alexander Semeonovitch Liberman date from circa 1913-2003 and measure 59 linear feet. Found within the papers are biographical materials; correspondence with family, galleries, museums, and many artists; numerous recorded interviews and transcripts with and by Liberman, including one of Walter Hopps; writings and writing project files; extensive subject files maintained by Liberman; exhibition files; printed materials; scattered drawings; and extensive photographs of Liberman's artwork, exhibitions, Liberman, and of Liberman with notable artists, dealers, collectors, and critics. Many of the photographs were taken by noted photograhers. Also found within the papers are unidentified sound and video recordings. Additional sound and video recordings have been integrated into other series.

Scope and Contents:

The papers of sculptor, painter, and publishing executive Alexander Semeonovitch Liberman date from circa 1913-2003 and measure 59 linear feet. Found within the papers are biographical materials; correspondence with family, galleries, museums, and many artists; numerous recorded interviews and transcripts with and by Liberman, including one of Walter Hopps; writings and writing project files; extensive subject files maintained by Liberman; exhibition files; printed materials; scattered drawings; and extensive photographs of Liberman's artwork, exhibitions, Liberman, and of Liberman with notable artists, dealers, collectors, and critics. Many of the photographs were taken by noted photograhers. Also found within the papers are unidentified sound and video recordings. Additional sound and video recordings have been integrated into other series.

Biographical materials include awards, biographies and chronologies, family history materials, membership cards, writings by Liberman's mother, and a scrapbook about his father.

Correspondence is extensive and concerns both personal and professional affairs. It is with artists and photographers, art magazines, organizations and museums, art collectors, businesses, and family. Notable correspondents include Cecil Beaton, Henri Cartier-Bresson, Burt Chernow, Salvador Dali, Robert Motherwell, Helen Frankenthaler, Barnett and Annalee Newman, Additional correspondence is found within the subject files compiled and organized by Liberman (series 6).

There are sound and video recordings and transcripts of interviews with and by Liberman, most completed for broadcast television and radio shows. Of particular interest are sound cassettes, a sound tape reel, and a transcript of an interview with Walter Hopps by Liberman.

Writings by Liberman include essays, short stories, and a play entitled 2+1. Writing project files were organized by Liberman for writing projects for which he was the author, collaborator, or subject. There are numerous files concerning Barbara Rose's book about Liberman Alexander Liberman that also include recorded interviews with Liberman and transcripts. Other books for which there are files include The Art and Technique of Color Photography, The Artist in His Studio, Vogue: The First 100 Years, Vogue History of Fashion Photography, and others.

Subject files were organized by Liberman for a wide variety of work projects, activities, topics, and entities of interest. Files cover commissions, the filming and distribution of the 1981 documentary film Alexander Liberman: A Lifetime Burning, Liberman's personal collection of art, gifts of artwork, and his relationship with galleries and dealers, particularly André Emmerich Gallery.

Exhibition files document exhibitions of Liberman's artwork, and include those held at André Emmerich Gallery, Bennington College, the Guggenheim, Museum of Modern Art, among other venues. Files contain correspondence, contracts, photographs, plans and drawings, notes, etc. Also found are inventory records of Liberman's artwork in the form of lists, index cards, bound registers, and notes.

Ten linear feet of printed materials include exhibition announcements and catalogs, books and book flyers, brochures, calendars, clippings, postcards, posters, press releases, and other materials.

There are scattered drawings and sketches found within the papers, some of which are sketches of sculpture pieces.

Nearly one-half of the collection is comprised of photographs of Liberman and his artwork, and of artists and colleagues, many of which were taken by noted photographers, including Cecil Beaton, Henri Cartier-Bresson, William Klein, Henri Lartique, Annie Leibowitz, Inge Morath, Ugo Mulas, Hans Namuth, Helmut Newton, Gordon Parks, Irving Penn, Herb Ritts, and Lord Snowden, among others. Subjects of note found in the photographs include Alfred Barr, Salvador Dali, Marlene Dietrich, Willem de Kooning, Andre Emmerich, Helen Frankenthaler, Clement Greenberg, Franz Kline, Robert Motherwell, Barnett Newman, Betty Parsons, Pablo Piccaso, Edward Steichen, Lucien Vogel, and Diana Vreeland, among many others.

Arrangement:

The collection is arranged into twelve series. Photographs retain Liberman's original numerical and alpha schemas and the corresponding indexes are found in the Inventory Records in Series 8.

Missing Title

Series 1: Biographical Materials, circa 1930s-1999 (1 linear foot; Box 1, 56)

Series 2: Correspondence, 1944-1997 (4 linear feet; Boxes 1-5, 56, OV 65)

Series 3: Interviews, 1946-1996 (1.4 linear feet; Boxes 5-7, 56)

Series 4: Writings, 1948-1995 (0.9 linear feet; Boxes 7-8)

Series 5: Writing Project Files, 1951-1997 (1.8 linear feet; Boxes 8-9, 56)

Series 6: Subject Files, 1946-2000 (6 linear feet; Boxes 9-15, 56, OV 66-67)

Series 7: Exhibition Files, 1954-1991 (0.7 linear feet; Boxes 15-16, 56, OV 68)

Series 8: Inventory Records, 1938-1998 (6 linear feet; Boxes 16-22)

Series 9: Printed Materials, 1932-2003 (10 linear feet; Boxes 22-31, 56-57, OV 69)

Series 10: Artwork, circa 1940s-1990s (0.4 linear feet; Boxes 32, 57, OV 70)

Series 11: Photographic Materials, circa 1912-1999 (26 linear feet; Boxes 32-55, 57-64, OVs 71-77)

Series 12: Unidentified Sound and Video Recordings, circa 1941-1999 (0.8 linear feet; Boxes 55, 64)

Biographical / Historical:

Alexander S. Liberman (1912-1999) was a sculptor, painter, photographer, graphic designer, writer, and publishing executive who worked primarily in New York City. He held senior positions at Condé Nast Publications for 32 years.

Alexander Semeonovitch Liberman was born in 1912 in Kiev Russia. He was educated in London and the École des Beaux Art in Paris. He began his journalistic career in Paris at VU magazine owned by Lucien Vogel and there he befriended photographers Henri Cartier-Bresson, Brassai, Robert Capa, and André Kértesz. He served in the French army for a short time in 1940, but he and his family fled Paris in 1941 to New York City. Condé Nast hired Liberman in 1941 as an assistant to the art director of Vogue magazine. Liberman became art director in 1943 and editorial director of Condé Nast Publications in 1962, a position he held until his retirement in 1994.

Liberman was also a photographer whose subjects included Georges Braque, Alexander Calder, Alberto Giacometti, Henri Matisse, Pablo Picasso, and Marlene Dietrich, among others, many represented in his 1960 book entitled The Artist in his Studio and Marlene: An Intimate Photographic Memoir (1992). He was also the subject of the work of noted photographers Cecil Beaton, Irving Penn, Henri Cartier-Bresson, Gordon Parks, Lord Snowden, Jill Krementz, Henri Lartique, Annie Leibovitz, and Hans Namuth.

Liberman took up painting and sculpting in the 1950s. Although his first exhibition was at the Betty Parsons Gallery, he was primarily associated with the André Emmerich Gallery in New York City. His monumental sculptures were mostly assembled from industrial parts and painted and can be seen in museums and public sites worldwide.

Liberman was briefly married to Hildegarde Sturm. He married his second wife Tatiana Yacovleff du Plessix in 1942. Before their marriage, they fled occupied France together. She was a noted hat designer, working for Henri Bendel and Saks, where she became known as Tatiania of Saks. She died in 1991 and, in 1992, Liberman married Melinda Pechangco, a nurse who had earlier cared for Tatiania. Alexander Liberman died in 1999 in Miami, Florida.

Related Materials:

Related collections found at the Archives of American Art include the Dodie Kazanjian and Calvin Tomkins research materials on Alexander Liberman and numerous collections of gallery records.

Provenance:

The Alexander Liberman papers were donated to the Archives of American Art by Liberman Art Partners in 2010 via Dodie Kazanjian.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Publishers -- New York (State) -- New York  Search this

Graphic designers  Search this

Topic:

Photographers -- New York (State) -- New York  Search this

Photography  Search this

Sculptors -- France -- Paris  Search this

Fashion photography  Search this

Painters -- France -- Paris  Search this

Painters -- New York (State) -- New York  Search this

Photographers -- France -- Paris  Search this

Genre/Form:

Drafts (documents)

Drawings

Scrapbooks

Interviews

Photographs

Sketches

Sound recordings

Transcripts

Video recordings

Citation:

Alexander Liberman Papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution's Collections Care and Preservation Fund.

Identifier:

AAA.libealex

See more items in:

Alexander Liberman papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw942e7024f-773e-4db8-b545-31138550580a

EDAN-URL:

ead_collection:sova-aaa-libealex

Container:

Box 32 of 287

Type:

Archival materials

Collection Citation:

Smithsonian Institution Archives, Record Unit 321, National Museum of American Art, Office of Program Support, Records

See more items in:

Records

Records / Series 7: Collections and Collectors / Box 32

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_component:sova-sia-faru0321-refidd1e4719

Collection Creator:

André Emmerich Gallery  Search this

Container:

Box 6, Folder 87

Type:

Archival materials

Date:

1966

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Leon Levy Foundation.

See more items in:

André Emmerich Gallery records

André Emmerich Gallery records / Series 1: General Correspondence Files / 1.1: Galleries/Museums/Clients

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e22d3458-1cfc-439e-9b29-7c47d66b8cc2

EDAN-URL:

ead_component:sova-aaa-andremmg-ref446

Collection Creator:

Stable Gallery  Search this

Container:

Box 2, Folder 21

Type:

Archival materials

Date:

1954-1961

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Stable Gallery records, 1916-1999, bulk 1953-1970. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Lichtenstein Foundation.

See more items in:

Stable Gallery records

Stable Gallery records / Series 2: Artist Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9bbd38752-2cdb-4955-8100-7292de550c63

EDAN-URL:

ead_component:sova-aaa-stabgall-ref57

Creator:

Louis, Morris, 1912-1962  Search this

Subject:

Brenner, Marcella  Search this

Bocour, Leonard  Search this

Frankenthaler, Helen  Search this

Faatz, Anita J. (Anita Josephine)  Search this

Noland, Kenneth  Search this

Greenberg, Clement  Search this

Truitt, Anne  Search this

Robert Pierce/Films, Inc.  Search this

Hirshhorn Museum and Sculpture Garden  Search this

André Emmerich Gallery  Search this

Type:

Video recordings

Sound recordings

Interviews

Photographs

Citation:

Morris Louis and Morris Louis Estate papers, circa 1910s-2007, bulk 1965-2000. Archives of American Art, Smithsonian Institution.

Topic:

Transcripts  Search this

Washington Color School (Group of artists)  Search this

Law and art -- United States  Search this

Color-field painting  Search this

Art -- Study and teaching  Search this

Art, Modern -- 20th century  Search this

Abstract expressionism  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7040

(DSI-AAA_SIRISBib)209173

AAA_collcode_louimorr

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209173

Creator:

Graham, John D. (John Dabrowsky), ca. 1887-1961  Search this

Subject:

Picasso, Pablo  Search this

Ultra Violet  Search this

Burliuk, David  Search this

Davis, Stuart  Search this

Gilot, Francoise  Search this

Gorchov, Ron  Search this

Gorky, Arshile  Search this

Tobey, Mark  Search this

Kitaj, R. B.  Search this

Mayer, Jack  Search this

Type:

Sketchbooks

Photographs

Citation:

John D. Graham papers, 1799-1988, bulk 1890-1961. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Collectors and collecting  Search this

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

Artists as authors -- New York (State) -- New York  Search this

World War, 1914-1918  Search this

Works of art  Search this

Antiques  Search this

Painters -- New York (State) -- New York  Search this

Theme:

Sketches & Sketchbooks  Search this

Diaries  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7215

(DSI-AAA_SIRISBib)209352

AAA_collcode_grahjohn

Theme:

Sketches & Sketchbooks

Diaries

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209352

Creator:

Rodnick, Herman  Search this

Subject:

Hofmann, Hans  Search this

Hans Hofmann School of Fine Arts (Provincetown, Mass.)  Search this

Citation:

Herman Rodnick papers on Hans Hofmann, 1947-1967. Archives of American Art, Smithsonian Institution.

Theme:

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)7785

(DSI-AAA_SIRISBib)209951

AAA_collcode_rodnherm

Theme:

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209951

Creator:

Huck, Peggy  Search this

Subject:

Hofmann, Hans  Search this

Type:

Sound recordings

Interviews

Citation:

Peggy (Georgina Margaret) Huck papers, 1931-1996. Archives of American Art, Smithsonian Institution.

Topic:

Sculptors -- United States -- Interviews  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7786

(DSI-AAA_SIRISBib)209952

AAA_collcode_huckpegg

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209952

Creator:

Wilmarth, Christopher, 1943-1987  Search this

Subject:

André Emmerich Gallery  Search this

Cooper Union for the Advancement of Science and Art. Art School  Search this

Studio for the First Amendment  Search this

Citation:

Christopher Wilmarth papers, 1956-1987. Archives of American Art, Smithsonian Institution.

Topic:

Artists' contracts  Search this

Minimal sculpture  Search this

Sculpture -- Exhibitions  Search this

Sculptors -- New York (State) -- New York -- Interviews  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9598

(DSI-AAA_SIRISBib)211802

AAA_collcode_wilmchri

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211802

Creator:

Jacques Seligmann & Co.  Search this

Subject:

Hauke, Cesar M. de (Cesar Mange)  Search this

Glaenzer, Eugene  Search this

Haardt, Georges  Search this

Seligman, Germain  Search this

Seligmann, Arnold  Search this

Parker, Theresa D.  Search this

Waegen, Rolf Hans  Search this

Trevor, Clyfford  Search this

Seligmann, René  Search this

Seligmann, Jacques  Search this

De Hauke & Co., Inc.  Search this

Jacques Seligmann & Co  Search this

Eugene Glaenzer & Co.  Search this

Germain Seligmann & Co.  Search this

Gersel  Search this

Type:

Gallery records

Citation:

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.

Topic:

Mackay, Clarence Hungerford, 1874-1938 -- Art collections  Search this

Schiff, Mortimer L. -- Art collections  Search this

Arenberg, duc d' -- Art collections  Search this

Liechtenstein, House of -- Art collections  Search this

Art -- Collectors and collecting -- France -- Paris  Search this

Art -- Collectors and collecting  Search this

World War, 1939-1945 -- Art and the war  Search this

La Fresnaye, Roger de, 1885-1925  Search this

Art, Renaissance  Search this

Decorative arts  Search this

Art treasures in war  Search this

Art, European  Search this

Theme:

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)9936

(DSI-AAA_SIRISBib)212486

AAA_collcode_jacqself

Theme:

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_212486

Creator:

Zucker, Barbara M., 1940-  Search this

Schlegel, Amy  Search this

Citation:

Oral history interview with Barbara Zucker, 1995 June 22-November 6. Archives of American Art, Smithsonian Institution.

Topic:

Feminism and art  Search this

Women artists  Search this

Women sculptors  Search this

Theme:

Women  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)6126

(DSI-AAA_SIRISBib)216341

AAA_collcode_zuckbarb

Theme:

Women

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_216341

Creator:

André Emmerich Gallery  Search this

Subject:

Frankenthaler, Helen  Search this

Francis, Sam  Search this

Emmerich, André  Search this

Caro, Anthony  Search this

Olitski, Jules  Search this

Pepper, Beverly  Search this

Louis, Morris  Search this

Noland, Kenneth  Search this

Hockney, David  Search this

Hofmann, Hans  Search this

Greenberg, Clement  Search this

Sotheby Parke Bernet & Co.  Search this

Sotheby's (Firm)  Search this

Galerie André Emmerich  Search this

Type:

Photographs

Visitors' books

Sound recordings

Video recordings

Scrapbooks

Etchings

Citation:

André Emmerich Gallery records, circa 1929-2009. Archives of American Art, Smithsonian Institution.

Topic:

Sculpture, Abstract  Search this

Color-field painting  Search this

Art -- Economic aspects  Search this

Artists' studios -- Photographs  Search this

Theme:

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)6275

(DSI-AAA_SIRISBib)216620

AAA_collcode_andremmg

Theme:

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_216620

Creator:

Benton, Fletcher Chapman, 1931-  Search this

Subject:

Louchheim, Marlene  Search this

Lucie-Smith, Edward  Search this

Finn, David  Search this

Jones, Lillian E.  Search this

Bury, Pol  Search this

De Wilde, Dan  Search this

Wilke, Ulfert  Search this

Valentine, De Wain  Search this

Tooker, Dan  Search this

Sanders, Pieter  Search this

Rickey, George  Search this

Neubert, George W.  Search this

Marquand, Ed  Search this

Galerie Denino  Search this

André Emmerich Gallery  Search this

Type:

Interviews

Motion pictures (visual works)

Drawings

Video recordings

Transcripts

Sound recordings

Photographs

Christmas cards

Citation:

Fletcher Benton papers, 1934-2014. Archives of American Art, Smithsonian Institution.

Topic:

Artists' studios -- Photographs  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)13352

(DSI-AAA_SIRISBib)251862

AAA_collcode_bentflet

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_251862

Creator:

Kamrowski, Gerome L., 1914-2004  Search this

Subject:

Matter, Mercedes  Search this

Breton, André  Search this

Lange, Monique  Search this

Rebay, Hilla  Search this

Sandler, Irving  Search this

Sawin, Martica  Search this

Art Students League (New York, N.Y.)  Search this

John Simon Guggenheim Memorial Foundation  Search this

University of Michigan  Search this

Whitney Museum of American Art  Search this

Type:

Sound recordings

Interviews

Citation:

Gerome Kamrowski papers, 1938-2004. Archives of American Art, Smithsonian Institution.

Topic:

Surrealism  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)15756

(DSI-AAA_SIRISBib)287218

AAA_collcode_kamrgero

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_287218

Creator:

Liberman, Alexander Semeonovitch, 1912-1999  Search this

Subject:

Leibovitz, Annie  Search this

Motherwell, Robert  Search this

Kline, Franz  Search this

Klein, William  Search this

Barr, Alfred H., Jr.  Search this

Hopps, Walter  Search this

Cartier-Bresson, Henri  Search this

Beaton, Cecil Walter Hardy, Sir  Search this

Penn, Irving  Search this

Parks, Gordon  Search this

Parsons, Betty  Search this

Newman, Barnett  Search this

Newton, Helmut  Search this

Mulas, Ugo  Search this

Namuth, Hans  Search this

Picasso, Pablo  Search this

Snowdon, Antony Armstrong-Jones, Earl of  Search this

Ritts, Herb  Search this

Vogel, Lucien  Search this

Steichen, Edward  Search this

Vreeland, Diana  Search this

Dalí, Salvador  Search this

Chernow, Burt  Search this

Dietrich, Marlene  Search this

De Kooning, Willem  Search this

Emmerich, André  Search this

Greenberg, Clement  Search this

Frankenthaler, Helen  Search this

Solomon R. Guggenheim Museum  Search this

Bennington College  Search this

Museum of Modern Art (New York, N.Y.)  Search this

André Emmerich Gallery  Search this

Type:

Drafts (documents)

Drawings

Scrapbooks

Interviews

Photographs

Sketches

Sound recordings

Transcripts

Video recordings

Citation:

Alexander Liberman papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.

Topic:

Photographers -- New York (State) -- New York  Search this

Photography  Search this

Sculptors -- France -- Paris  Search this

Fashion photography  Search this

Painters -- France -- Paris  Search this

Painters -- New York (State) -- New York  Search this

Photographers -- France -- Paris  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)15871

(DSI-AAA_SIRISBib)295430

AAA_collcode_libealex

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_295430

Collection Creator:

Penney, Charles Rand, 1923-2010  Search this

Container:

Box 21, Folder 36

Type:

Archival materials

Date:

1962-1970

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Charles Rand Penney Papers, 1923-1994, bulk 1945-1994. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.

See more items in:

Charles Rand Penney papers

Charles Rand Penney papers / Series 1: Art Collection Files / Stamos, Theodoros

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97a7deb58-7cc4-4be7-872d-16916de45da2

EDAN-URL:

ead_component:sova-aaa-pennchar-ref1089

Collection Creator:

Penney, Charles Rand, 1923-2010  Search this

Container:

Box 9, Folder 39

Type:

Archival materials

Date:

1972-1982

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Charles Rand Penney Papers, 1923-1994, bulk 1945-1994. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.

See more items in:

Charles Rand Penney papers

Charles Rand Penney papers / Series 1: Art Collection Files / Goodnough, Robert

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9dc158839-fb0b-4644-beb1-5251361cbc8a

EDAN-URL:

ead_component:sova-aaa-pennchar-ref475