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Oral history interview with Manny Silverman, 2004 December 10-11

Interviewee:
Silverman, Manny, 1941-  Search this
Silverman, Manny, 1941-  Search this
Interviewer:
Ayres, Anne, 1936-  Search this
Subject:
Tuchman, Maurice  Search this
Johnson, Ray  Search this
Ernest Raboff Gallery  Search this
Type:
Sound recordings
Interviews
Topic:
Curators -- California -- Los Angeles  Search this
Art -- Economic aspects  Search this
Abstract expressionism  Search this
Record number:
(DSI-AAA_CollID)11727
(DSI-AAA_SIRISBib)249466
AAA_collcode_silver04
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_249466
Online Media:

Alan R. Solomon papers, 1907-1970, bulk 1944-1970

Creator:
Solomon, Alan R.  Search this
Solomon, Alan R.  Search this
Subject:
Castelli, Leo  Search this
Louis, Morris  Search this
Segal, George  Search this
Fahlström, Öyvind  Search this
Poons, Larry  Search this
Duchamp, Marcel  Search this
Bontecou, Lee  Search this
Picasso, Pablo  Search this
Provinciali, Michele  Search this
Reed, Lou  Search this
Lichtenstein, Roy  Search this
Mulas, Ugo  Search this
Sonnabend, Ileana  Search this
Rosenquist, James  Search this
Sabol, Audrey  Search this
Grisi, Laura  Search this
Noland, Kenneth  Search this
Scull, Ethel  Search this
MacElroy, Robert R.  Search this
Namuth, Hans  Search this
Newman, Barnett  Search this
Finkelstein, Nat  Search this
Stella, Frank  Search this
Sisler, Mary  Search this
Greenberg, Jeanine  Search this
Oldenburg, Patty  Search this
Morris, Robert  Search this
Scull, Robert C.  Search this
Hay, Alex  Search this
Dine, Jim  Search this
Kron, Joan  Search this
Chamberlain, John  Search this
Greenberg, Clement  Search this
Oldenburg, Claes  Search this
Frankenthaler, Helen  Search this
Paxton, Steve  Search this
Moore, Peter  Search this
Whitman, Robert  Search this
Novick, Elizabeth  Search this
Rauschenberg, Robert  Search this
Redon, Odilon  Search this
Schute, Terry  Search this
Warhol, Andy  Search this
Hay, Deborah  Search this
Rainier, Yvonne  Search this
Childs, Lucinda  Search this
Johns, Jasper  Search this
Dunn, Judith  Search this
Leo Castelli Gallery  Search this
Expo 67 (Montréal, Québec)  Search this
Pasadena Art Museum  Search this
Institute of Contemporary Art (Boston, Mass.)  Search this
Albright-Knox Art Gallery  Search this
Art Gallery of Ontario  Search this
Velvet Underground (Musical group)  Search this
Biennale di Venezia  Search this
Artforum  Search this
Amsterdam (Netherlands). Stedelijk Museum  Search this
Jewish Museum (New York, N.Y.)  Search this
University of California (System)  Search this
Cornell University.  Search this
San Francisco Art Institute  Search this
Centro de Artes Visuales (Asunción, Paraguay)  Search this
Los Once (Artists' group)  Search this
Harvard University  Search this
Type:
Drawings
Transcripts
Photographs
Interviews
Lithographs
Place:
Italy -- Venice
Topic:
Abstract expressionism  Search this
Art -- Study and teaching  Search this
Art -- Economic aspects  Search this
Art -- History -- Study and teaching  Search this
Performance art  Search this
Art, Abstract -- United States  Search this
Art -- Exhibitions  Search this
Art -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Sculptors  Search this
Art, Modern -- 20th century -- United States  Search this
Educators -- New York (State) -- New York  Search this
Curators -- New York (State) -- New York  Search this
Theater  Search this
Pop art  Search this
Museum directors -- New York (State) -- New York  Search this
Theme:
Art Movements and Schools  Search this
Record number:
(DSI-AAA_CollID)7165
(DSI-AAA_SIRISBib)209301
AAA_collcode_soloalan
Theme:
Art Movements and Schools
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209301
Online Media:

American Art Association Records

Creator:
American Art Association  Search this
Names:
American Watercolor Society  Search this
Blakeslee Galleries (New York, N.Y.)  Search this
Carnegie, Andrew, 1835-1919  Search this
Crocker, William H.  Search this
Kirby, Thomas Ellis, 1846-1924  Search this
Millet, Francis Davis, 1846-1912  Search this
Parsons, Alfred, 1847-1920  Search this
Extent:
27.8 Linear feet
Type:
Collection descriptions
Archival materials
Sales records
Photographs
Drawings
Prints
Sketches
Date:
circa 1853-1929
bulk 1885-1922
Summary:
The American Art Association records measure 27.8 linear feet and date from circa 1853-1929, with the bulk of the material dating from circa 1885-1922. The records include auction and sales files, general financial and legal files, inventory and stock records, client files, printed materials, photographic materials, artwork, and the personal papers of founder Thomas Ellis Kirby.
Scope and Contents:
The American Art Association records measure 27.8 linear feet and date from circa 1853-1929, with the bulk of the material dating from circa 1885-1922. The records include auction and sales files, general financial and legal files, inventory and stock records, client files, printed materials, photographic materials, artwork, and the scattered personal papers of founder Thomas Ellis Kirby.

Auction files contain a wide variety of materials regarding auction schedules, auctions, gallery sales, and estate sales. The files primarily contain correspondence, sales statements and ledgers, estate inventories and appraisals, and photographs. Of interest is a handwritten letter from Andrew Carnegie concerning the Second Prize Fund Exhibition.

Records of sales are documented in named files, sales ledgers, client account books, and Blakeslee Gallery sales ledgers. Files are found for specific art collections and estates. Sales ledgers list sales transactions of the Association by collection, department, genre, or named auction and provide the most detailed sales information, often noting title or subject, size, owner, lot number, date, purchaser, and price, and sometimes an index of artists. Other ledgers document consignment and exhibition sales, as well as sales conducted by other galleries or auction houses, both in the United States and in Europe. Exhibition sales documented include those of Alfred Parsons and Frank Millet in 1903, the American Watercolor Society in 1902, and the American Painters and Illustrators in 1905, and others. Client account books provide itemized costs accrued by individuals or estates over the course of a sale or purchase. Many of the ledgers contain name indexes.

General financial and legal files primarily consist of cash and expense ledgers documenting daily, monthly, and yearly costs and expenses related to the production of auction and sales catalogs, costs associated with leasing spaces and equipment, shipping and crating, employee sales commissions, art department expenses, book department expenses, and other costs. Legal files contain scattered forms and contractual documents, as well as correspondence and documents related to two lawsuits.

Inventory and stock records document the Association's inventory through a series of stock books and inventory cards that include sales and provenance information.

Client files consist of cards divided into clients interested in art and clients interested in books. They also include some information on specific client sales and purchases. Also found are numerous client address books. Printed materials include auction catalogs, clippings, and newspapers.

Photographs depict works of art and materials sold and collected. Of interest is a collection of cabinet photographs of French artists collected when the American Art Association was actively involved in the auction sales of thousands of paintings by French artists. Also found are four photo albums depicting auction items for a 1907 auction, prepared for the American Art Association by William H. Crocker. Several unsigned prints, sketches, and drawings are found in the artwork series.

Thomas Ellis Kirby's scattered personal papers include an address book, scattered family and biographical materials, correspondence with clients and associates, writings and speeches, legal material, auction records, and photographs.
Arrangement:
The collection is arranged as 9 series. Folder titles have been retained from the original records, and occasionally devised for clarity.

Series 1: Auctions, circa 1885-1922 (1.9 linear feet; Boxes 1-2, BV23-24)

Series 2: Sales, circa 1884-1923 (8.1 linear feet; Boxes 2-6, 20-21, BV25-39)

Series 3: General Financial and Legal Files, circa 1883-1923 (9.3 linear feet; Boxes 6-11, BV40-62)

Series 4: Inventory and Stock Records, circa 1887-circa 1922 (0.8 linear feet; Box 11, BV63-65)

Series 5: Client Files, circa 1895-circa 1922 (2.1 linear feet; Boxes 11-13)

Series 6: Printed Materials, circa 1853-1923 (1.1 linear feet; Boxes 13-14, 21)

Series 7: Photographic Material, circa 1885-circa 1922 (0.8 linear feet; Boxes 14-15, 21-22)

Series 8: Artwork, circa 1888-circa 1900 (0.1 linear feet; Boxes 15, 22)

Series 9: Thomas Ellis Kirby Personal Papers, circa 1861-1929 (3.6 linear feet; Boxes 15-19)
Biographical / Historical:
The American Art Association was an art gallery and auction house based in New York City, New York, formed in 1883 by James F. Sutton, R. Austin Robertson, and Thomas E. Kirby. It was the first auction house in the United States.

The Association was founded to promote American art and exhibit the work of American artists in its American Art Galleries in New York City. In its first year of operation, the Association exhibited Thomas B. Clarke's collection of American paintings as a benefit for the National Academy of Design. After the successful management of the public sale of the George I. Seney art collection in 1885, with Thomas E. Kirby as auctioneer, the Association continued conducting auctions and managing estate sales. Austin Robertson died in 1892 and Sutton became a special partner in 1895. In 1912 Kirby's son, Gustavus T. Kirby, joined the Association as a general partner and later also acquired Sutton's interest and became a full partner. The Association was sold in 1923 to Cortlandt Field Bishop, and merged with the Anderson Auction Company to form the American Art Association-Anderson Galleries, Inc, in 1929. The firm was taken over by Parke-Bernet Galleries, Inc., in 1938.
Provenance:
A portion of the American Art Association records were donated in 1968 by Thomas Ellis Kirby's daughter, Mrs. Thomas B. Waller. The remaining records were donated by the American Antiquarian Society in 1978 and 1993.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art -- Economic aspects  Search this
Art galleries, Commercial -- Economic aspects  Search this
Art, French  Search this
Art auctions  Search this
Art, American  Search this
Artists -- France -- Photographs  Search this
Artists -- United States  Search this
Function:
Arts organizations -- New York (State)
Art galleries, Commercial -- New York (State)
Auction houses -- New York (State)
Genre/Form:
Sales records
Photographs
Drawings
Prints
Sketches
Citation:
American Art Association Records, circa 1853-1929, bulk circa 1885-1922. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.amerarta
See more items in:
American Art Association Records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-amerarta
Online Media:

Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1962

Creator:
Carnegie Institute, Museum of Art  Search this
Carnegie Institute, Museum of Art  Search this
Subject:
East, Alfred, Sir  Search this
Church, Samuel Harden  Search this
Chase, William Merritt  Search this
Homer, Winslow  Search this
Hassam, Childe  Search this
Saint-Gaudens, Homer  Search this
Thayer, Abbott Handerson  Search this
Beatty, John W. (John Wesley)  Search this
Alexander, John White  Search this
Beaux, Cecilia  Search this
Brush, George de Forest  Search this
M. Knoedler & Co.  Search this
Gallery of William Macbeth  Search this
Corcoran Gallery of Art  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Art Institute of Chicago  Search this
Buffalo Fine Arts Academy  Search this
Type:
Photographs
Letterpress books
Museum records
Place:
Spain -- History -- Civil War, 1936-1939
Topic:
Art -- Economic aspects  Search this
World War, 1914-1918  Search this
Depressions -- 1929  Search this
Art, Modern -- Exhibitions  Search this
Fascism  Search this
World War, 1939-1945  Search this
Museum directors  Search this
Theme:
Communities, Organizations, Museums  Search this
Record number:
(DSI-AAA_CollID)7343
(DSI-AAA_SIRISBib)209496
AAA_collcode_carninst
Theme:
Communities, Organizations, Museums
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209496
Online Media:

Oral history interview with Rosamund Felsen

Interviewee:
Felsen, Rosamund, 1934-  Search this
Interviewer:
Ayres, Anne, 1936-  Search this
Extent:
5 Sound discs (Sound recording, master (5 hrs.), digital, 2 5/8 in.)
104 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound discs
Pages
Sound recordings
Interviews
Date:
2004 Oct. 10-11
Scope and Contents:
An interview of Rosamund Felsen conducted 2004 October 10-11, by Anne Ayres, for the Archives of American Art, in Los Angeles, Calif.
Felsen discusses developing her gallery's stable of artists; forming a creative consciousness while working at Gemini GEL and being involved in high school theater; being unable to start a career because of the demand of raising four children; the influences of her older siblings; her marriages to Vern Hinderer and Sidney Felsen; engaging in the nascent 1960s Los Angeles art world; the founding of Gemini GEL with her husband, Sidney, and Stanley and Elyse Grinstein; her involvement with "political" artists like Jeffrey Vallance; working in the now defunct Pasadena Art Museum; that museum's downfall; starting a gallery with Timothea Stewart; her thoughts on other Los Angeles galleries of the 1970s; the influence of the Beatnik movement on L.A. art; the financial difficulties of exhibiting conceptual art; and the importance of art schools in forming a regional art scene. Felsen also mentions her ambivalent opinions of Feminist art; the exodus of a major portion of her gallery's artists; the importance of lawyers aiding artists; the characteristics of retrospective exhibitions on the Los Angeles art world; the differences between high art and design; her relationships with various collectors; socializing in the L.A. art world; the definitions of the terms "art world" and "taste"; the public's restricted access, because of admission prices and tastes, to contemporary art; how she splits funds after selling an artwork; the problems of dealing with artist's estates; the importance of her relationships with museum curators; and how she still retains enthusiasm for her work. Felsen also recalls Patrick Hogan, Lari Pittman, Michael Kelley, Man Ray, Tom Hanks, Jeffrey Vallance, Thomas Kincade, Laura Owens, Meg Cranston, Keith Sklar, Ralph Rugoff, Tim Ebner, Virginia Dwan, George Wanlass, and others.
Biographical / Historical:
Rosamund Felsen (1934- ) is a gallery owner in Los Angeles, Calif. Anne Ayres (1936- ) is a curator from Los Angeles, Calif.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Gallery owners -- California  Search this
Topic:
Art -- Economic aspects  Search this
Art -- Political aspects  Search this
Art -- Collectors and collecting -- California -- Los Angeles  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.felsen04
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-felsen04

State of the arts videorecordings, 1979

Creator:
Lawrence P. Fraiberg Productions  Search this
Lawrence P. Fraiberg Productions  Search this
Subject:
Campoli, Cosmo  Search this
Karp, Ivan C.  Search this
Fraiberg, Lawrence P.  Search this
Thorne, Joan  Search this
Solomon, Holly  Search this
Segal, George  Search this
Rose, Barbara  Search this
Phillips, Liz  Search this
Paik, Nam June  Search this
Kovich, Robert  Search this
Cavanau, Ted  Search this
Derman, Rick  Search this
Nolan, Barry  Search this
Whitney Museum of American Art  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Lawrence P. Fraiberg Productions  Search this
O.K. Harris Gallery (New York, N.Y.)  Search this
New Museum (New York, N.Y.)  Search this
Type:
Interviews
Video recordings
Topic:
Art, Modern -- 20th century -- Study and teaching  Search this
Performance art  Search this
Artists' studios  Search this
Video art  Search this
Sound sculpture -- United States  Search this
Women artists  Search this
Art -- Economic aspects  Search this
Theme:
Art Market  Search this
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)10962
(DSI-AAA_SIRISBib)214748
AAA_collcode_frailawr
Theme:
Art Market
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214748

State of the arts videorecordings

Creator:
Lawrence P. Fraiberg Productions  Search this
Names:
Lawrence P. Fraiberg Productions  Search this
Museum of Modern Art (New York, N.Y.)  Search this
New Museum (New York, N.Y.)  Search this
O.K. Harris Gallery (New York, N.Y.)  Search this
Whitney Museum of American Art  Search this
Campoli, Cosmo  Search this
Cavanau, Ted  Search this
Derman, Rick  Search this
Fraiberg, Lawrence P.  Search this
Karp, Ivan C., 1926-2012  Search this
Kovich, Robert  Search this
Nolan, Barry  Search this
Paik, Nam June, 1932-2006  Search this
Phillips, Liz  Search this
Rose, Barbara  Search this
Segal, George, 1924-2000  Search this
Solomon, Holly  Search this
Thorne, Joan, 1943-  Search this
Extent:
2.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Video recordings
Date:
1979
Summary:
The State of the Arts videorecordings measure 2.4 linear feet and consist of 30 videocassettes (U-matic) and three sets of handwritten notes, all created during the production of a pilot episode for a broadcast television documentary series on contemporary art in 1979. Four stories were produced for the pilot: a staged debate on modern art at the Museum of Modern Art; an investigation into the economics of the contemporary art market, a collaboration between video artist Nam June Paik and sound artist Liz Phillips, and an extended interview with sculptor George Segal on the occasion of his 1979 retrospective exhibition at the Whitney Museum of American Art. Video footage includes raw footage for each segment and edited versions of the economics of art story, the Nam June Paik and Liz Phillips story, and the George Segal story. The reporter and interviewer for the program was Barry Nolan.
Scope and Contents:
The State of the Arts videorecordings measure 2.4 linear feet and consist of 30 videocassettes (U-matic) and three sets of handwritten notes, all created during the production of a pilot episode for a broadcast television documentary series on contemporary art in 1979. Four stories were produced for the pilot: a staged debate on modern art at the Museum of Modern Art; an investigation into the economics of the contemporary art market, a collaboration between video artist Nam June Paik and sound artist Liz Phillips, and an extended interview with sculptor George Segal on the occasion of his 1979 retrospective exhibition at the Whitney Museum of American Art. Video footage includes raw footage for each segment and edited versions of the economics of art story, the Nam June Paik and Liz Phillips story, and the George Segal story. The reporter and interviewer for the program was Barry Nolan.

Although the program never aired, the video shot for the pilot documents significant artists and gallerists of its time, with profiles of O.K. Harris Works of Art and its founder, Ivan Karp, as well as art dealer Holly Solomon and critic Barbara Rose, Marcia Tucker in the early days of the New Museum, and footage of artists like Nam June Paik, Liz Phillips, and George Segal in their studios, describing their work in detail. The sound and video piece created by Paik and Phillips with the dancer Robert Kovich was commissioned by the State of the Arts producers for the pilot program, and the four hours of video documenting their collaboration and its product may therefore be unique.

Interview subjects for the economics of art story include Ivan Karp, Tom Drysdale, Rick Derman, Cosmo Campoli, Joan Thorne, Holly Solomon, Marcia Tucker, and Barbara Rose. The Marcia Tucker interview takes place at the New School, which was at the time the home of the New Museum. Footage also includes a gallery opening at O.K. Harris Works of Art. Extended interviews with Liz Phillips, Nam June Paik, and George Segal are found in the footage of their respective stories.
Arrangement:
The collection is arranged as one series.

Series 1: -- State of the Arts -- Production Video, 1979 (2.4 linear feet; boxes 1-3)
Biographical / Historical:
State of the Arts was planned as a broadcast television magazine program on the subject of contemporary art. The pilot was produced in 1979 by Lawrence P. Fraiberg Productions with funding provided jointly by IBM and the National Endowment for the Arts. Fraiberg and Tom Cavanau served as executive co-producers, Rick Derman as field producer, and Barry Nolan as interviewer. The program never aired.

Lawrence P. Fraiberg was a longtime television documentary veteran when the pilot was produced. He graduated from the University of California in 1949 and began his career at television station KPIX in San Francisco. He became vice president and general manager of WNEW-TV in New York in 1965, and was named president of Metromedia Television in 1977. In 1980 he was appointed president of the Television Station Group for Westinghouse Broadcasting. An active member in community and industry organizations, he is a recipient of an honorary degree (1978) from St. John's University, New York, a Peabody Award for Lifetime Achievement in the Broadcasting Industry (1986), and a Trustees Award from the National Academy of Television Arts and Sciences (1990). He died in 2011.

Barry Nolan, the interviewer for State of the Arts, went on to a career as a television magazine host and producer, with credits including Evening Magazine, Hard Copy, Extra!, and Nitebeat, and in 2012 produced the documentary No Way Out But One with his wife, Garland Waller.
Provenance:
Donated 1979-1980 by Lawrence P. Fraiberg.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Rights:
Authorization to quote or reproduce for purposes of publication requires written permission from Ted Cavanu, Rick Derman and Barry Nolan. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art, Modern -- 20th century -- Study and teaching  Search this
Performance art  Search this
Artists' studios  Search this
Video art  Search this
Sound sculpture -- United States  Search this
Women artists  Search this
Art -- Economic aspects  Search this
Function:
Production companies
Genre/Form:
Interviews
Video recordings
Citation:
State of the Arts Videorecordings, 1979. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.frailawr
See more items in:
State of the arts videorecordings
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-frailawr

Richard York Gallery records, circa 1865-2005, bulk 1981-2004

Creator:
Richard York Gallery  Search this
Richard York Gallery  Search this
Subject:
Hornby, Lester George  Search this
Lozowick, Louis  Search this
Hill, J. W. (John William)  Search this
Hill, John Henry  Search this
Goldyne, Joseph R.  Search this
Hale, Ellen Day  Search this
De Forest, Lockwood  Search this
Wheeler, Steve  Search this
Stevens, Will Henry  Search this
MacRae, Emma Fordyce  Search this
York, Richard  Search this
Lucioni, Luigi  Search this
Marin, John  Search this
Mapplethorpe, Robert  Search this
Marin, John, Jr.  Search this
Stella, Joseph  Search this
Smith, Houghton Cranford  Search this
Art Dealers Association of America  Search this
Type:
Scrapbooks
Photographs
Topic:
Art, American  Search this
Art -- Economic aspects  Search this
Theme:
Art Gallery Records  Search this
Record number:
(DSI-AAA_CollID)13607
(DSI-AAA_SIRISBib)270662
AAA_collcode_richyorg
Theme:
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_270662
Online Media:

James Graham & Sons records, 1821

Creator:
James Graham & Sons  Search this
James Graham & Sons  Search this
Subject:
De Kooning, Elaine  Search this
Crile, Susan  Search this
Duveen, Albert  Search this
Dickinson, Edwin Walter  Search this
Cicero, Carmen  Search this
Coheleach, Guy  Search this
Wyeth, N. C. (Newell Convers)  Search this
Wyeth, Jamie  Search this
Trieff, Selina  Search this
Wyeth, Andrew  Search this
Stevens, Peter  Search this
Thorne, Joan  Search this
Santlofer, Jonathan  Search this
Schley, Reeve  Search this
Melchers, Gari  Search this
Perrine, Van Dearing  Search this
Kriesberg, Irving  Search this
Graham, Robert Claverhouse  Search this
Fried, Nancy  Search this
Fogel, Seymour  Search this
Coe Kerr Gallery  Search this
Graham Gallery  Search this
Graham Modern (Gallery)  Search this
Duveen-Graham (Gallery)  Search this
Type:
Visitors' books
Scrapbooks
Photographs
Topic:
Art -- Economic aspects  Search this
Painting -- United States  Search this
Sculpture -- United States  Search this
Theme:
Art Gallery Records  Search this
Record number:
(DSI-AAA_CollID)13683
(DSI-AAA_SIRISBib)274826
AAA_collcode_jamegras
Theme:
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_274826
Online Media:

Richard York Gallery records

Creator:
Richard York Gallery  Search this
Names:
Art Dealers Association of America  Search this
De Forest, Lockwood, 1850-1932  Search this
Goldyne, Joseph R.  Search this
Hale, Ellen Day, 1855-1940  Search this
Hill, J. W. (John William), 1812-1879  Search this
Hill, John Henry, 1839-1922  Search this
Hornby, Lester George, 1882-1956  Search this
Lozowick, Louis, 1892-1973  Search this
Lucioni, Luigi, 1900-1988  Search this
MacRae, Emma Fordyce, 1887-1974  Search this
Mapplethorpe, Robert  Search this
Marin, John, 1870-1953  Search this
Marin, John, Jr., 1915?-1988  Search this
Smith, Houghton Cranford, 1887-1983  Search this
Stella, Joseph, 1877-1946  Search this
Stevens, Will Henry, 1881-1949  Search this
Wheeler, Steve, 1912-1992  Search this
York, Richard  Search this
Extent:
89.5 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Date:
circa 1865-2005
bulk 1981-2004
Summary:
The records of the Richard York Gallery, a New York gallery specializing in American art from early 1800s to 1950, measure 79.3 linear feet and date from circa 1865-2005, with the bulk of the material dating from 1981 to 2004. Three-fourths of the records are artists' artwork files, documenting the sale and consignment of nearly 6,500 works of art. The gallery's activities are also recorded through correspondence, client files, gallery invoices, inventories, business and financial records, printed materials, scrapbooks, photographic materials of artwork, and estate records for the John Marin estate and Sergio Stella estate (Joseph Stella). An addition of 10.2 linear feet, dated circa 1865 to 2005, includes artists' files arranged alphabetically containing printed material, clippings, exhibition announcements, and scattered correspondence and financial documents.
Scope and Content Note:
The records of the Richard York Gallery, a New York gallery specializing in American art from early 1800s to 1950, measure 79.3 linear feet and date from circa 1865-2005, with the bulk of the material dating from 1981 to 2004. Three-fourths of the records are artists' artwork files, documenting the sale and consignment of nearly 6,500 works of art. The gallery's activities are also recorded through correspondence, client files, gallery invoices, inventories, business and financial records, printed materials, scrapbooks, photographic materials of artwork, and estate records for the John Marin estate and Sergio Stella estate (Joseph Stella). An addition of 10.2 linear feet, dated circa 1865 to 2005, includes artists' files arranged alphabetically containing printed material, clippings, exhibition announcements, and scattered correspondence and financial documents.

Correspondence includes both incoming and outgoing correspondence with collectors, clients, galleries and museums, primarily regarding appraisals, consignments, exhibitions, general inquiries, loans, and sales. Also found are scattered transactional records, information sheets for artwork, and photographic materials. Correspondence from the mid-late 1980s is poorly represented.

The sale and consignment of nearly 6,500 pieces of artwork at the Richard York Gallery are documented through transactional records, photographic materials, correspondence, and scattered printed materials found in the Artists' Artwork Files. Artists for which there are significant quantities of materials (over 50 folders) include Joseph Goldyne, Ellen Day Hale, John Henry Hill, John William Hill, Lester George Hornby, Louis Lozowick, Luigi Lucioni, Emma Fordyce MacRae, John Marin, Joseph Stella, William Henry Stevens, and Steve Wheeler. Also included are the files of the Richard York photography collection, which contained works by Robert Mapplethorpe.

Similar to the Artists' Artwork Files, Client Files document the sale and consignment of artwork, but are arranged by artist's and client's name. Materials found are primarily from the early 1990s and include correspondence, notes, photographic materials, photocopied client information cards, and printed materials.

The Richard York Gallery represented the John Marin estate and the Sergio Stella estate (Joseph Stella). The records of the John Marin estate are primarily artwork in-take sheets from 1998 and inventory lists from 2001. The Sergio Stella Estate records include correspondence, inventories of artwork by Joseph Stella, and some photographic materials.

Sales and inventory records contain a nearly complete set of gallery invoices from 1995-2000, and 2004. Inventories includes gallery inventory lists, and inventory cards of sold artwork from 1981-1997 (bulk 1981-1991).

The business and financial records include accounting records, bank deposit records, corporate records, index cards for contacts, invoices for gallery expenses, materials related to Richard York's involvement in the ADAA, mailing lists, records of payments to consignors, receipts, shipping records, and tax records. The gallery migrated from paper records to Artbase, an artwork management system, around 2000-2002. Included are two CDs of database data and digital images from Artbase, as well as inventories of the digital file names.

Printed materials contain advertising tear sheets from 1998-2002, exhibition catalogs, magazine and newspaper clippings of reviews and announcements, and other miscellaneous printed materials. Printed materials are also found in eight scrapbooks which document the activities of the Richard York Gallery, Richard York, and the gallery's exhibitions from 1981-2002. Materials in the scrapbooks include clippings, correspondence, photographs, exhibition catalogs, announcements, and invitations.

Photographic materials includes color photographs, transparencies, digital prints, and scattered printed materials, as well as over 600 slides of artwork, primarily works of art which were sold or consigned by the gallery. Artists for which there is significant volume of transparencies include Houghton Cranford Smith and Lockwood de Forest, Sr.

Materials with dates prior to 1981 in this collection are primarily research materials for works of art, such as printed materials, correspondence, and transparencies, as well as some artwork artifacts, such as back labels.
Arrangement:
The collection is arranged as 9 series:

Series 1: Correspondence, 1975-2005 (Boxes 1-7; 6.4 linear feet)

Series 2: Artists' Artwork Files, circa 1865-2004 (Boxes 7-64; 56.85 linear feet)

Series 3: Client Files, 1965, circa 1981-circa 2004 (Box 64; 0.5 linear feet)

Series 4: Estate Records, 1983-circa 2004 (Boxes 64-65; 1.0 linear feet)

Series 5: Sales and Inventory Records, 1977-2004 (Boxes 65-70; 5.0 linear feet)

Series 6: Business and Financial Records, 1974-2005 (Boxes 70-77; 6.25 linear feet)

Series 7: Printed Materials, 1980-2004 (Boxes 77-78; 1.1 linear feet)

Series 8: Scrapbooks, 1981-2002 (Boxes 78, 80; 1.0 linear feet)

Series 9: Photographic Materials, 1977-2004 (Boxes 78-79; 1.2 linear feet)

Series 10: Unprocessed Addition, circa 1865-2005 (Boxes 81-91; 10.2 linear feet)
Historical Note:
Richard T. York (circa 1950-2003) opened his eponymous gallery in the spring of 1981 on East 65th Street in New York City. Specializing in American painting and sculpture from early 1800s to 1950, the Richard York Gallery dealt in the artwork of hundreds of artists including Albert Bierstadt, Charles Demuth, Arthur Dove, Lockwood de Forest, John Graham, Georgia O'Keeffe, John Singer Sargent, Charles Sheeler, and Steve Wheeler. It also represented the estates of artists John Marin and Joseph Stella.

Richard York passed away in April 2003, and the gallery closed in May 2004.
Provenance:
The Richard York Gallery records were donated to the Archives of American Art in 2006 by Kevin Scott, the executor of Richard York's estate; and in 2015 by Lisa Bush Hankin, former gallery director.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art, American  Search this
Art -- Economic aspects  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Scrapbooks
Photographs
Citation:
Richard York Gallery records, circa 1865-2005, bulk 1981-2004. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.richyorg
See more items in:
Richard York Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-richyorg
Online Media:

James Graham & Sons records

Creator:
James Graham & Sons  Search this
Names:
Coe Kerr Gallery  Search this
Duveen-Graham (Gallery)  Search this
Graham Gallery  Search this
Graham Modern (Gallery)  Search this
Cicero, Carmen, 1926-  Search this
Coheleach, Guy  Search this
Crile, Susan, 1942-  Search this
De Kooning, Elaine  Search this
Dickinson, Edwin Walter, 1891-1978  Search this
Duveen, Albert  Search this
Fogel, Seymour, 1911-1984  Search this
Fried, Nancy  Search this
Graham, Robert Claverhouse, 1913-1994  Search this
Kriesberg, Irving, 1919-  Search this
Melchers, Gari, 1860-1932  Search this
Perrine, Van Dearing, 1869-1955  Search this
Santlofer, Jonathan, 1946-  Search this
Schley, Reeve, 1936-  Search this
Stevens, Peter  Search this
Thorne, Joan, 1943-  Search this
Trieff, Selina, 1934-  Search this
Wyeth, Andrew, 1917-2009  Search this
Wyeth, Jamie, 1946-  Search this
Wyeth, N. C. (Newell Convers), 1882-1945  Search this
Extent:
103.2 Linear feet
Type:
Collection descriptions
Archival materials
Visitors' books
Scrapbooks
Photographs
Date:
1821
1815
circa 1896-2011
Summary:
The records of the New York City gallery James Graham & Sons measure 103.2 linear feet and date from 1815, 1821, circa 1896-2011 (bulk 1950s-1980s). The collection generally documents the gallery's contemporary art department during the time in which Robert Claverhouse Graham, Sr. worked at the gallery (1940-1979); records prior to 1954 are sparse and scattered. Gallery records include artist files; correspondence; exhibition files; financial records; inventory records; printed materials; sales, loans, and consignment records; scrapbooks; and photographic materials. Also found are records from Coe Kerr Gallery regarding exhibitions.. There is a 8.0 linear foot unprocessed addition to this collection donated in 2018 that includes artists' files regarding exhibitions and photographs of works of art.
Scope and Content Note:
The records of the New York City gallery James Graham & Sons measure 103.2 linear feet and date from 1815, 1821, circa 1896-2011 (bulk 1950s-1980s). The collection generally documents the gallery's contemporary art department during the time in which Robert Claverhouse Graham, Sr. worked at the gallery (1940-1979); records prior to 1954 are sparse and scattered. Gallery records include artist files; correspondence; exhibition files; financial records; inventory records; printed materials; sales, loans, and consignment records; scrapbooks; and photographic materials. Also found are records from Coe Kerr Gallery regarding exhibitions of artwork by Jamie Wyeth, and to a lesser extent, Andrew and N.C. Wyeth.

Over the years, the gallery changed names and established contemporary art departments. In addition to records of James Graham & Sons, the collection holds the records of Duveen-Graham Modern Art (in partnership with Albert Duveen), Graham Gallery, Graham Modern, JG|Contemporary, and, to a lesser extent, The Clapp and Graham Co.

Alphabetical files are a mix of business correspondence and business records. The bulk of the series contains correspondence with galleries, museums, other institutions, and, to a lesser extent, clients regarding sales, consignments, and loans of artwork. Also found are materials relevant to the daily operations of the gallery, including correspondence, subject files, and scattered financial, business and legal records.

Exhibition files provide scattered documentation of the gallery's exhibitions through catalogs, clippings, correspondence, guest books, notes, photographs, press materials, price lists, and sales receipts and other financial records.

Artists' Files document the numerous artists who have been represented by the gallery, especially modern American artists. Folders for each artist can contain a variety of materials, including correspondence with the artist or with institutions regarding consignments, loans, sales and exhibitions; photographic materials primarily of artwork; sales invoices; exhibition catalogs, postcards, and other printed materials; press releases; magazine and newspaper clippings; price lists; artist binders; and research materials on artists and artwork. Also found are some subject files, per original arrangement. There is extensive material related to artists Carmen Cicero, Susan Crile, Elaine De Kooning's portrait of President John F. Kennedy, Edwin Dickinson, muralist Seymour Fogel, Nancy Fried, Irving Kriesberg, Gari Melchers, Jonathan Santlofer, Reeve Schley, Peter Stevens, Joan Thorne, and Selina Trieff.

Artwork files document sales, consignments, and loans of artwork primarily from the mid-1980s to 2000s. Materials include agreements and contracts; condition reports; correspondence; invoices and receipts; photographs of artwork; shipping records; and photocopied printed material and other documentation. This series requires written permission from the donor in order to access.

Sales records from 1959-1984 (missing 1974) are found in the Financial Records series. Also found are check stub books from the mid-late 1950s; price lists; records for the Four Seasons Charter Corp.; and scattered banking, consignment, tax, and other financial records. Inventory cards from mid-1950s-1970s and inventory lists, often with notations and prices, are found in the series Inventory Records.

Coe Kerr Gallery Records regarding the Wyeths document Jamie Wyeth's exhibitions primarily from the mid-1970s-early 1980s. Also found is limited material regarding Andrew Wyeth and N.C. Wyeth. Materials include correspondence, photographs, exhibition printed materials, and extensive newspaper clippings.

There are exhibition catalogs, books, announcements, magazines, clippings, postcards, posters and other printed materials related to artists, John Graham & Sons exhibitions, and exhibitions by Graham artists held at other galleries and museums. Also found is an 1815 fifty cent note which was redeemed in 1821.

Seven scrapbooks document discrete aspects of the business, including the gallery's advertising, participation in an art fair, and the careers of artists Guy Coheleach and Van Dearing Perrine. Materials housed in the scrapbooks include clippings, catalogs, photographs, and other printed materials.

Photographic Materials include mostly black and white photographs, negatives, slides and transparencies of artwork; scattered photographs of installations, artists, and the gallery; and a handful of personal snapshots. The bulk of the photographs are undated, but were likely printed between 1950s-1990s.

There is a 8.0 linear foot unprocessed addition to this collection donated in 2018 that includes artists' files regarding exhibitions and photographs of works of art.
Arrangement:
The collection is arranged as 11 series:

Series 1: Alphabetical Files, circa 1896, 1902-1999, bulk 1955-1986 (Boxes 1-15; 15 linear feet)

Series 2: Exhibition Files, 1912, 1947-2004 (Boxes 16-24; 8 linear feet)

Series 3: Artists' Files, circa 1907-2006, bulk 1955-1999 (Boxes 24-62, 95-96; 39.1 linear feet)

Series 4: Artwork Files, circa early 1900s-2011, bulk mid-1980s-2009 (Boxes 63-71, 94, 101; 9.3 linear feet)

Series 5: Financial Records, circa 1937-1993 (Boxes 72-76, 96; 4.5 linear feet)

Series 6: Inventory Records, circa 1954-1993 (Boxes 76-78, 96; 2.1 linear feet)

Series 7: Coe Kerr Gallery Records Regarding Wyeths, 1964-1988 (Boxes 78-80, 97; 2.7 linear feet)

Series 8: Printed Materials, 1815, 1821, 1949-2006 (Boxes 81-82, 97; 2.1 linear feet)

Series 9: Scrapbooks, 1897-1990s (Boxes 82, 98-100; 0.9 linear feet)

Series 10: Photographic Materials, 1929-1990s (Boxes 83-93, 96, 100-101; 11.5 linear feet)

Series 11: Unprocessed Addition, circa 1940-1980 (Boxes 102-109; 8 linear feet)
Historical Note:
The James Graham & Sons gallery has been owned and managed by the Graham family in New York City since 1857. Throughout its history, the gallery has specialized in decorative arts, antiques, and 19th-early 20th century and contemporary American art.

In 1857, Samuel Graham founded a gallery at 66 Third Street and specialized in furniture. Graham was joined by his son James in the 1880s and expanded the business to include antiques and decorative arts. James A. Graham, the third generation Graham, joined the gallery in the early 20th century. James Graham and antiques dealer Marshall Clapp created Clapp & Graham in 1914, a partnership which was dissolved around 1940.

James R. Graham, the fourth generation Graham, joined the gallery in 1937, followed by his brother Robert Claverhouse Graham, Sr. in 1940. The gallery was then named James Graham & Sons and was located at 514 Madison Avenue. At this time, the gallery specialized in bronzes, ceramics, silver, sculptures, and 19th-early 20th century American art. Robert C. Graham, Sr. introduced modern American art, especially The Eight, into the gallery's inventory.

In 1955, the gallery moved to 1014 Madison Avenue, where it remained until the late 2000s. That same year, Graham opened its first contemporary department with Albert Duveen. Duveen-Graham Modern Art gallery was based on the third floor of the Madison Avenue building and dealt solely in contemporary art until its closing in 1958. Robert C. Graham, Jr. (Robin) joined the gallery in 1963, becoming the fifth generation Graham to run the family business. The gallery is currently located at 32 East 67th Street.

Betsy Fahlman's "James Graham & Sons: A Century and a Half in the Art Business" (2007) was a valuable resource in constructing this Historical Note.
Related Material:
Among the other resources relating to James Graham & Sons in the Archives of American Art is an oral history interview with Robert Claverhouse Graham, November 19, 1976, and the David Herbert papers, 1950-1995.
Provenance:
The James Graham & Sons records were donated in 2007, 2008, and 2012 by Priscilla Caldwell and Jay Grimm of James Graham & Sons and in 2018 by Cameron Shay of James Graham & Sons.
Restrictions:
Use of original papers requires an appointment. Artwork Files (Boxes 63-71, 94) and some photographic materials (Box 93 and 101) require written permission to access.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art -- Economic aspects  Search this
Painting -- United States  Search this
Sculpture -- United States  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Visitors' books
Scrapbooks
Photographs
Citation:
James Graham & Sons records, 1815, 1821, circa 1896-2011, bulk 1950s-1980s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.jamegras
See more items in:
James Graham & Sons records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-jamegras
Online Media:

André Emmerich Gallery records

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. TheA 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:

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, Emmerich's former business partner, 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.
Identifier:
AAA.andremmg
See more items in:
André Emmerich Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-andremmg
Online Media:

Prince Street Gallery records, 1971-2005

Creator:
Prince Street Gallery (New York, N.Y.)  Search this
Prince Street Gallery (New York, N.Y.)  Search this
Subject:
Kulicke, Barbara  Search this
Topic:
Art galleries, Commercial -- Economic aspects  Search this
Theme:
Art Market  Search this
Women  Search this
Art Gallery Records  Search this
Record number:
(DSI-AAA_CollID)13518
(DSI-AAA_SIRISBib)267691
AAA_collcode_prinstrg
Theme:
Art Market
Women
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_267691

Winslow Homer letters to M. Knoedler and Company, 1900-1904

Creator:
Homer, Winslow, 1836-1910  Search this
M. Knoedler & Co.  Search this
Homer, Winslow, 1836-1910  Search this
Subject:
M. Knoedler & Co.  Search this
Topic:
Art -- Economic aspects  Search this
Record number:
(DSI-AAA_CollID)15805
(DSI-AAA_SIRISBib)289262
AAA_collcode_mknoeco
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_289262
Online Media:

Winslow Homer letters to M. Knoedler and Company

Creator:
Homer, Winslow, 1836-1910  Search this
Names:
M. Knoedler & Co.  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1900-1904
Summary:
This small collection of twenty-two letters written by painter and illustrator Winslow Homer to his art dealer, M. Knoedler and Company, date from 1900 to 1904. These letters to the New York gallerist concern the logistics of selling his paintings and also reference agents, collectors, and art institutions where his work was being exhibited.
Scope and Contents:
This small collection of twenty-two letters written by painter and illustrator Winslow Homer to his art dealer, M. Knoedler and Company, date from 1900 to 1904. These letters to the New York gallerist concern the logistics of selling his paintings and also reference agents, collectors, and art institutions where his work was being exhibited.
Arrangement:
The collection is arranged as 1 series:

Series 1: Correspondence, 1900-1904 (0.2 linear feet; Box 1)
Biographical / Historical:
Winslow Homer was born in Boston, Massachusetts, in 1836. He was raised in Cambridge, where he developed a love of art and the outdoors. At the age of 19 he began his career as an illustrator, apprenticing at the J.H. Bufford lithographic firm in Boston. He then decided to become a freelance illustrator. In 1859 Homer moved to New York to work for Harper's Weekly, serving as artist-correspondent for the magazine during the Civil War. After taking some art classes at the National Academy of Design, he decided to focus on oil painting. He quickly gained international recognition as a painter, and in 1866 made his first trip to Europe. In 1873 he decided to work in watercolor and found great success in his experimentation with light and color in this medium. In the mid-1880s Homer moved permanently to Prout's Neck, Maine, an isolated area where he built a studio and focused his paintings on man's struggle with nature. Also during the 1880s he worked on a series of etchings based on his paintings. Homer continued to paint for the next twenty years, vacationing summers in places such as the Adirondacks and the Bahamas to capture varied landscapes, until his death in 1910.

M. Knoedler and Co. was a New York art dealership and gallery that managed the sales and logistics involved in shipping or lending artworks to various collectors, museums, organizations, and institutions.
Related Materials:
The Archives of American Art also holds the Winslow Homer collection; a microfilm copy on reels 2932-2933 of the Winslow Homer and Homer family papers from the Bowdain College; and a video recording, Winslow Homer in Maine.
Provenance:
The Winslow Homer letters to M. Knoedler and Company were purchased at auction and donated by Martha J. Fleischman in memory of her father, Lawrence A. Fleischman, in 2010.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art dealers -- Illinois -- Chicago  Search this
Illustrators -- Maine  Search this
Painters -- Maine -- Prout's Neck  Search this
Topic:
Art -- Economic aspects  Search this
Citation:
Winslow Homer letters to M. Knoedler and Company, 1900-1904. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mknoeco
See more items in:
Winslow Homer letters to M. Knoedler and Company
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-mknoeco
Online Media:

Prince Street Gallery records

Creator:
Prince Street Gallery (New York, N.Y.)  Search this
Names:
Kulicke, Barbara  Search this
Extent:
2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1971-2005
Scope and Contents:
Records of the Prince Street Gallery including correspondence; by-laws; minutes of meetings, 1979-2000; consignment sheets; daily log books, 2002-2004; an account book, 1989-1996; "financial dues and rent chart," 1999; application for a New York State Arts Council grant 1975-76; application for tax exemption, including letters of support from artists; membership applications; exhibition proposals and announcements; newsletters, gallery information sheets, press releases, reviews, published writings about the gallery, and miscellany.
Biographical / Historical:
Co-operative art gallery, New York, N.Y.; Established 1970
Provenance:
Donated 2006 by Prince Street Gallery via Barbara Kulicke, co-director.
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.
Topic:
Art galleries, Commercial -- Economic aspects  Search this
Function:
Art galleries, Commercial -- New York (State)
Artist-run galleries -- New York (State)
Identifier:
AAA.prinstrg
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-prinstrg

Oral history interview with Tibor de Nagy, 1976 March 29

Interviewee:
De Nagy, Tibor, 1908-1993  Search this
De Nagy, Tibor, 1908-1993  Search this
Interviewer:
Cummings, Paul, 1933-1997  Search this
Subject:
Andre, Carl  Search this
Bates, Alex  Search this
Castelli, Leo  Search this
Frankenthaler, Helen  Search this
Freilicher, Jane  Search this
Hartigan, Grace  Search this
Hess, Thomas B.  Search this
Myers, John Bernard  Search this
Nivola, Costantino  Search this
O'Hara, Frank  Search this
Rivers, Larry  Search this
Tibor de Nagy Gallery  Search this
Type:
Sound recordings
Interviews
Topic:
Art galleries, Commercial -- Economic aspects  Search this
Record number:
(DSI-AAA_CollID)12568
(DSI-AAA_SIRISBib)212028
AAA_collcode_denagy76
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212028

André Emmerich Gallery records, circa 1929-2009

Creator:
André Emmerich Gallery  Search this
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
Topic:
Sculpture, Abstract  Search this
Color-field painting  Search this
Art -- Economic aspects  Search this
Artists' studios -- Photographs  Search this
Theme:
Art Market  Search this
Lives of American Artists  Search this
Art Market  Search this
Art Gallery Records  Search this
Record number:
(DSI-AAA_CollID)6275
(DSI-AAA_SIRISBib)216620
AAA_collcode_andremmg
Theme:
Art Market
Lives of American Artists
Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216620
Online Media:

Oral history interview with Tibor de Nagy

Interviewee:
De Nagy, Tibor, 1908-1993  Search this
Interviewer:
Cummings, Paul  Search this
Names:
Tibor de Nagy Gallery  Search this
Andre, Carl, 1935-  Search this
Bates, Alex  Search this
Castelli, Leo  Search this
Frankenthaler, Helen, 1928-2011  Search this
Freilicher, Jane, 1924-  Search this
Hartigan, Grace  Search this
Hess, Thomas B.  Search this
Myers, John Bernard  Search this
Nivola, Costantino, 1911-1988  Search this
O'Hara, Frank, 1926-1966  Search this
Rivers, Larry, 1925-2002  Search this
Extent:
41 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1976 March 29
Scope and Contents:
An interview of Tibor de Nagy conducted 1976 March 29, by Paul Cummings, for the Archives of American Art. de Nagy disusses his family and educational background; his partnership with John Myers; exhibitions by Carl Andre, Helen Frankenthaler, Jane Freilicher, Grace Hartigan, Constantino Nivola, and Larry Rivers at the Tibor de Nagy Gallery; the gallery's clientele including Leo Castelli, Frank O'Hara, Alex Bates, Thomas Hess, and others. De Nagy also speaks of his relationship with museum curators and changes in the art market during the 1950s.
Biographical / Historical:
Tibor de Nagy (1908-1993) was an art dealer from New York, New York.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 56 min.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Art dealers -- New York (State) -- New York  Search this
Topic:
Art galleries, Commercial -- Economic aspects  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.denagy76
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-denagy76

Oral history interview with Edith Gregor Halpert, 1962-1963

Interviewee:
Halpert, Edith Gregor, 1900-1970  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Interviewer:
Phillips, Harlan B. (Harlan Buddington),, 1920-  Search this
Subject:
Bacon, Peggy  Search this
Barr, Alfred H., Jr.  Search this
Barrie, Erwin S.  Search this
Benton, Thomas Hart  Search this
Brackman, Robert  Search this
Bridgman, George Brant  Search this
Brixey, Richard de Wolfe  Search this
Cahill, Holger  Search this
Calder, Alexander  Search this
Cary, Elisabeth Luther  Search this
Chase, William Merritt  Search this
Coleman, Glenn O.  Search this
Crowninshield, Frank  Search this
Daniel, Charles  Search this
Davis, Stuart  Search this
Demuth, Charles  Search this
Deskey, Donald  Search this
Dove, Arthur Garfield  Search this
Dudensing, F. Valentine  Search this
Fergusson, John Duncan  Search this
Field, Hamilton Easter  Search this
Force, Juliana  Search this
Ford, Ford Madox  Search this
Frost, Robert  Search this
Fuller, R. Buckminster (Richard Buckminster)  Search this
Goodyear, A. Conger (Anson Conger)  Search this
Greenberg, Clement  Search this
Halpert, Samuel  Search this
Hartley, Marsden  Search this
Hirsch, Stefan  Search this
Hopkinson, Charles  Search this
Hopper, Edward  Search this
Johns, Jasper  Search this
Kline, Franz  Search this
Knox, Seymour H.  Search this
Kroll, Leon  Search this
Kuhn, Walt  Search this
Kuniyoshi, Yasuo  Search this
Laurent, Robert  Search this
Lawrence, Jacob  Search this
Léger, Fernand  Search this
Levine, Jack  Search this
Levy, Julien  Search this
Locke, Charles  Search this
Luks, George Benjamin  Search this
Marin, John, Jr.  Search this
McBride, Henry  Search this
Mellon, Paul  Search this
Mercer, Henry Chapman  Search this
Montross, N. E. (Newman E)  Search this
Noguchi, Isamu  Search this
O'Keeffe, Georgia  Search this
Pascin, Jules  Search this
Picasso, Pablo  Search this
Pollock, Jackson  Search this
Pound, Ezra  Search this
Rivera, Diego  Search this
Rockefeller, Abby Aldrich  Search this
Robinson, Edward G.  Search this
Saarinen, Aline B. (Aline Bernstein)  Search this
Saklatwalla, Beram K.  Search this
Sandburg, Carl  Search this
Shahn, Ben  Search this
Sheeler, Charles  Search this
Siporin, Mitchell  Search this
Soutine, Chaim  Search this
Steichen, Edward  Search this
Stein, Gertrude  Search this
Stella, Frank  Search this
Stern, Louis E.  Search this
Stieglitz, Alfred  Search this
Tannahill, Robert Hudson  Search this
Vollard, Ambroise  Search this
Weber, Max  Search this
Wittenberg, Philip  Search this
Whitney, Gertrude Vanderbilt  Search this
Williams, William Carlos  Search this
Zerbe, Karl  Search this
Zorach, William  Search this
Zorach, Marguerite  Search this
C.W. Kraushaar Art Galleries  Search this
Daniel Gallery  Search this
Downtown Gallery (New York, N.Y.)  Search this
Ferargil Galleries  Search this
Grand Central Art Galleries  Search this
M. Knoedler & Co.  Search this
Montross Gallery  Search this
New Gallery (New York, N.Y.)  Search this
Topic:
Art -- Economic aspects  Search this
Camouflage  Search this
Folk art -- Collectors and collecting  Search this
Women art dealers  Search this
Record number:
(DSI-AAA_CollID)13220
(DSI-AAA_SIRISBib)214627
AAA_collcode_halper62
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_214627
Online Media:

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