Search Results

Referenced:

Shakespeare, William  Search this

Depicted:

Edward V King of England  Search this

Designer:

Tassaert, Octave  Search this

Graphic artist:

Garnier, Hippolyte-Louis  Search this

Lithographer:

Delaunois  Search this

Physical Description:

paper (overall material)

ink (overall material)

Measurements:

overall: 35.5 cm x 37 cm; 14 in x 14 9/16 in

image: 30.5 cm x 36.5 cm; 12 in x 14 3/8 in

Object Name:

print

lithograph

Other Terms:

print; lithograph; Planographic

Associated Place:

United Kingdom: England, London

Date made:

ca 1833

Subject:

Theater  Search this

European History  Search this

Credit Line:

Gift of Earle Huckel

ID Number:

GA.11223.02

Catalog number:

11223.02

Accession number:

64874

See more items in:

Work and Industry: Graphic Arts

Popular Entertainment

Art

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a5-c692-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_787137

Artist:

Imad al-Hasani (died 1615)  Search this

Borders:

Muhammad Baqir (mid-18th century)  Search this

Muhammad Hadi (Iranian, active mid-18th century)  Search this

Medium:

Opaque watercolor, ink and gold on paper

Dimensions:

H x W (overall): 32.4 x 47.6 cm (12 3/4 x 18 3/4 in)

Type:

Painting

Origin:

India

Date:

ca. 1680; borders mid-18th c.

Period:

Mughal dynasty

Topic:

flower  Search this

hunting  Search this

elephant  Search this

Mughal dynasty (1526 - 1858)  Search this

India  Search this

South Asian and Himalayan Art  Search this

Credit Line:

Purchase — funds provided by an anonymous donor and the Friends of Asian Arts

Accession Number:

F1994.4

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye36108f61c-fca9-4f43-8c00-ffb9327edcd9

EDAN-URL:

edanmdm:fsg_F1994.4

Medium:

Opaque color on paper

Dimensions:

H x W (overall): 38.1 x 55.9 cm (15 x 22 in)

Type:

Painting

Origin:

Nepal

Date:

ca. 1775-1800

Topic:

Ganesha  Search this

Krishna  Search this

horse  Search this

elephant  Search this

battle  Search this

warrior  Search this

archery  Search this

Bhagavata Purana  Search this

palace  Search this

gate  Search this

bow  Search this

Nepal  Search this

king  Search this

chariot  Search this

South Asian and Himalayan Art  Search this

Credit Line:

Gift of Dr. and Mrs. Kenneth X. Robbins

Accession Number:

S1988.58

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye3f94c7bef-b72e-4804-960d-539e0a44b347

EDAN-URL:

edanmdm:fsg_S1988.58

Creator:

Freer Gallery of Art and Arthur M. Sackler Gallery  Search this

Type:

Symposia

YouTube Videos

Uploaded:

2017-01-03T22:59:08.000Z

YouTube Category:

Education  Search this

Topic:

Art, Asian  Search this

See more by:

FreerSackler

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

YouTube Channel:

FreerSackler

EDAN-URL:

edanmdm:yt_vVYTTWExFgM

Interviewee:

Armer, Ruth, 1896-1977  Search this

Interviewer:

Karlstrom, Paul J.  Search this

Names:

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

Bellows, George, 1882-1925  Search this

Henri, Robert, 1865-1929  Search this

Sloan, John, 1871-1951  Search this

Stein, Leo, 1872-1947  Search this

Weber, Max, 1881-1961  Search this

Extent:

62 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1974 August 14

Scope and Contents:

An interview of Ruth Armer conducted 1974 August 14, by Paul J. Karlstrom, for the Archives of American Art. Armer speaks of her early interest in art; her education; moving to New York City in 1918; studying at the Art Students League under John Sloan, Robert Henri and George Bellows, and the influences of Leo Stein and Max Weber. She discusses her early work in portrait painting; returning to San Francisco and working as a commercial artist; becoming a teacher; and her opinions of San Francisco art and the art market.

Biographical / Historical:

Ruth Armer (1896-1977) was a painter and art collector from San Francisco, California.

General:

Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 39 min.

Provenance:

These interviews are 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 others.

Restrictions:

This interview is open for research. Contact Reference Services for more information.

Occupation:

Painters -- California -- San Francisco  Search this

Collectors  Search this

Topic:

Art -- Collectors and collecting  Search this

Women artists  Search this

Women painters  Search this

Women art collectors  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

This interview received support from the Smithsonian American Women's History Initiative Pool.

Identifier:

AAA.armer74

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw998ed8042-a28d-4d3a-9418-5742d7ef5c02

EDAN-URL:

ead_collection:sova-aaa-armer74

Creator:

Freer Gallery of Art and Arthur M. Sackler Gallery  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2021-05-09T15:42:59.000Z

YouTube Category:

Education  Search this

Topic:

Art, Asian  Search this

See more by:

FreerSackler

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

YouTube Channel:

FreerSackler

EDAN-URL:

edanmdm:yt_PiBpccUWZEs

Artist:

Francisco de Goya y Lucientes  Search this

Medium:

Print, Etching on Paper

Dimensions:

2-D - In Frame (H x W x D): 44.5 x 58.4cm (17 1/2 x 23 in.)

2-D - Unframed (H x W): 21.6 x 33.7cm (8 1/2 x 13 1/4 in.)

Type:

ART-Prints, Original

Country of Origin:

Spain

Date:

1815-1823

Credit Line:

Gift of the American Institute of Aeronautics and Astronautics

Inventory Number:

A19772676000

Restrictions & Rights:

Usage conditions apply

See more items in:

National Air and Space Museum Collection

Data Source:

National Air and Space Museum

GUID:

http://n2t.net/ark:/65665/nv91a921744-cba2-418c-b630-98d40d19691d

EDAN-URL:

edanmdm:nasm_A19772676000

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 party 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.

Missing Title

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.

Sponsor:

Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program.

Identifier:

AAA.frailawr

See more items in:

State of the arts videorecordings

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92f7d4bec-4caf-4705-8058-87f72987ab5a

EDAN-URL:

ead_collection:sova-aaa-frailawr

Medium:

Bronze

Dimensions:

H x W x D: 107.3 x 33.4 x 25.7 cm (42 1/4 x 13 1/8 x 10 1/8 in)

Type:

Sculpture

Origin:

Tamil Nadu state, India

Date:

10th century

Period:

Chola dynasty, Reign of Queen Sembiyan Mahadevi

Topic:

casting  Search this

metal  Search this

bronze  Search this

Hinduism  Search this

Parvati  Search this

Uma  Search this

Chola dynasty (850 - 1280)  Search this

India  Search this

queen  Search this

kataka mudra  Search this

South Asian and Himalayan Art  Search this

Credit Line:

Purchase — Charles Lang Freer Endowment

Accession Number:

F1929.84

Restrictions & Rights:

CC0

On View:

Freer Gallery 01: Body Image: Arts of the Indian Subcontinent

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye374a5ab77-6461-4daa-b856-3385ca17d8f6

EDAN-URL:

edanmdm:fsg_F1929.84

Medium:

Bronze

Dimensions:

H x W x D (overall): 48.6 x 43.5 x 17.3 cm (19 1/8 x 17 1/8 x 6 13/16 in)

Type:

Sculpture

Origin:

Tamil Nadu state, India

Date:

12th century

Period:

Chola dynasty

Topic:

casting  Search this

metal  Search this

bronze  Search this

child  Search this

Chola dynasty (850 - 1280)  Search this

Saint Sambandar  Search this

India  Search this

South Asian and Himalayan Art  Search this

Credit Line:

Purchase — Charles Lang Freer Endowment

Accession Number:

F1976.5

Restrictions & Rights:

Usage conditions apply

On View:

Freer Gallery 01: Body Image: Arts of the Indian Subcontinent

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye32d8ef9fc-e3b5-4736-9087-0a83017d934f

EDAN-URL:

edanmdm:fsg_F1976.5

Creator:

Freer Gallery of Art and Arthur M. Sackler Gallery  Search this

Type:

YouTube Videos

Uploaded:

2015-06-26T11:24:42.000Z

YouTube Category:

Film & Animation  Search this

Topic:

Art, Asian  Search this

See more by:

FreerSackler

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

YouTube Channel:

FreerSackler

EDAN-URL:

edanmdm:yt_gthQKp0X0kw

Sculptor:

Serra, Richard 1939-2024  Search this

Medium:

Cor-Ten steel

Type:

Sculptures-Outdoor Sculpture

Sculptures

Owner/Location:

Administered by City of St. Louis Department of Parks, Recreation, and Forestry 5600 Clayton Avenue St. Louis Missouri 63110

Located Gateway Mall Market Street, between 10th & 11th Streets St. Louis Missouri

Date:

1976-1981. Dedicated 1982

Topic:

Abstract--Geometric  Search this

Control number:

IAS 87810038

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_298712

Creator:

Hirshhorn Museum and Sculpture Garden  Search this

Type:

YouTube Videos

Uploaded:

2018-04-23T17:44:26.000Z

YouTube Category:

Education  Search this

Topic:

Art, modern  Search this

See more by:

hirshhornmuseum

Data Source:

Hirshhorn Museum and Sculpture Garden

YouTube Channel:

hirshhornmuseum

EDAN-URL:

edanmdm:yt_IC81Va8XubU

Maker:

Goines, David Lance  Search this

Physical Description:

paper (overall material)

ink (overall material)

Measurements:

overall: 61 cm x 41.7 cm; 24 1/32 in x 16 13/32 in

Object Name:

print

lithograph

Object Type:

Lithograph

Place made:

United States: California, Berkeley

Date made:

1991

ID Number:

2012.0089.01

Accession number:

2012.0089

Catalog number:

2012.0089.01

See more items in:

Work and Industry: Graphic Arts

Food

Communications

Art

Exhibition:

Food: Transforming the American Table

Exhibition Location:

National Museum of American History

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746ad-836b-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1425731

Creator:

Woman's Building (Los Angeles, Calif.)  Search this

Names:

Feminist Studio Workshop  Search this

Women's Graphic Center (Los Angeles, Calif.)  Search this

Chicago, Judy, 1939-  Search this

De Bretteville, Sheila Levrant  Search this

Raven, Arlene  Search this

Extent:

32.5 Linear feet

Type:

Collection descriptions

Archival materials

Slides

Artists' books

Date:

1970-1992

Summary:

The records of the Woman's Building feminist arts organization in Los Angeles measure 32.5 linear feet and date from 1970-1992. Originally founded by artist Judy Chicago, graphic designer Sheila Levant de Bretteville, and art historian Arlene Raven in 1973, the Woman's Building served as an education center and public gallery space for women artists in southern California. The records document both the educational and exhibition activities and consist of administrative records, financial and legal records, publications, curriculum files, exhibition files, grant funding records and artist's works of arts and prints. A significant portion of the collection documents the Women's Graphic Center, a typesetting, design, and printing service operated by The Woman's Building.

Scope and Content Note:

The records of the Woman's Building measure 32.5 linear feet and date from 1970 to 1992. The organization played a key role as an alternative space for women artists energized by the feminist movement in the 1970s. The records document the ways in which feminist theory shaped the Building's founding core mission and goals. During its eighteen year history, the Building served as an education center and a public gallery space for women artists in Los Angeles and southern California; the records reflect both functions of the Building's activities.

The Administrative Files series documents the daily operations of the Building, with particular emphasis on management policies, budget planning, history, cooperative relationships with outside art organizations and galleries, special building-wide programs, and relocation planning. Included in this series are the complete minutes from most Building committees from 1974 through closing, including the Board of Directors and the Advisory Council. The General Publicity and Outreach series is particularly complete, containing publicity notices from most events, exhibits, and programs held at the Woman's Building, including brochures, announcements, programs, invitations, press releases, newspaper clippings, and magazine articles.

The Woman's Building's educational programs centered on courses offered by the Feminist Studio Workshop and the Extension Program. While the Workshop provided a two-year program for women interested in fully developing their artistic talent, the Extension Program offered a broad range of classes, specifically oriented to working women interested in art and art vocations. The records fully document both programs, focusing on the course development and descriptions, teacher contracts, class evaluations, budget planning, and scholarship programs. Although the Archives does not have the entire slide library, there are files concerning the establishment and administration of the library, as well as a few folders of slides.

The Gallery Programs series houses the records of the visual, performing, literary and video arts events held at the Woman's Building. Administrative files detail the daily operation of the gallery spaces. The files in the remaining subseries are primarily arranged by event and contain proposals, announcements, publicity, and artist biographies.

The Women's Graphic Center became a profit-making arm of the Woman's Building in 1981 but the typesetting and design equipment had been used by staff and students since 1975. The records in this series focus on the work produced at the Center, including general projects and artist designs and art prints. Many of the design and printing examples were produced for Woman's Building events and programs.

The Artist's Works of Art series includes artist books, resumes, correspondence, postcards, and samples of art in the form of sketches, drawings, and prints. There is also material related to Woman's Building projects. Especially noteworthy is the "What is Feminist Art?" project where artists gave their responses in various formats and mediums from text to pieces of artwork.

Arrangement:

The collection is arranged into 6 series.

Series 1: Administrative Files, circa 1970-1991 (Box 1-9, 32; 9 linear feet)

Series 2: Educational Programs, 1971-1991 (Box 10-14; 4.9 linear feet)

Series 3: Gallery Programs, 1973-1991 (Box 14-20, OV 54; 5.7 linear feet)

Series 4: Women's Graphic Center, circa 1976-1989 (Box 20-23, 32, OV 33-50; 5.6 linear feet)

Series 5: Artists' Works of Art, circa 1972-1990 (Box 24-25, OV 51-53; 1.7 linear feet)

Series 6: Grants, 1974-1992 (Box 25-30; 5.3 linear feet)

Historical Note:

In 1973, artist Judy Chicago, graphic designer Sheila Levant de Bretteville, and art historian Arlene Raven founded the Feminist Studio Workshop (FSW), one of the first independent schools for women artists. The founders established the workshop as a non-profit alternative education center committed to developing art based on women's experiences. The FSW focused not only on the development of art skills, but also on the development of women's experiences and the incorporation of those experiences into their artwork. Central to this vision was the idea that art should not be separated from other activities related to the developing women's movement. In November of 1973 the founders rented workshop space in a vacated building in downtown Los Angeles and called it The Woman's Building, taking the name from the structure created for the 1893 World's Columbian Exposition in Chicago. The FSW shared space with other organizations and enterprises including several performance groups, Womanspace Gallery, Sisterhood Bookstore, the National Organization of Women, and the Women's Liberation Union.

When the building they were renting was sold in 1975, the FSW and a few other tenants moved to a three-story brick structure, originally designed to be the administrative offices of the Standard Oil Company in the 1920s. In the 1940s, it had been converted into a warehouse and consisted of three floors of open space, conducive to publically available extension classes and exhibitions offered by the Woman's Building staff and students. By 1977, the majority of the outside tenants had left the Woman's Building, primarily because they were unable to sustain business in the new location. The new building was more expensive to maintain and the FSW staff decided to hire an administrator and to create a board structure to assume the financial, legal, and administrative responsibility for the Building. The funds to operate came from FSW tuition, memberships, fund-raising events, and grant monies.

In 1981, the Feminist Studio Workshop closed, as the demand for alternative education diminished. The education programs of the Building were restructured to better accommodate the needs of working women. The Woman's Building also began to generate its own artistic programming with outside artists, including visual arts exhibits, performance art, readings, and video productions. That same year, the Woman's Building founded the Women's Graphic Center Typesetting and Design, a profit-making enterprises designed to strengthen its financial base. Income generated from the phototypesetting, design, production, and printing services was used to support the educational and art making activities of the Building.

When the graphics business closed in 1988, the Woman's Building suffered a financial crisis from which it never fully recovered. The Building closed its gallery and performance space in 1991.

Related Material:

Among the other resources relating to the Woman's Building in the Archives of American Art is an oral history with Suzanne Lacy on March 16, 1990, March 24, 1990, and September 24, 1990. While not credited as a founding member, Lacy was among the first group of staff of the Woman's Building which she discusses in her interview.

The Getty Research Institute also holds a large collection on the Woman's Building which includes a wide range of material relating to its exhibitions, activities, and projects.

Separated Material:

The Archives of American Art donated 5 boxes of video tape from the collection to the Long Beach Museum of Art, Video Annex in 1994. According to documentation, this was the desire of Sandra Golvin and the Board of Directors of the Woman's Building. Printed material collected but not produced by the Woman's Building regarding feminism was transfered to Smithsonian Institution Libraries.

Provenance:

The Woman's Building records were donated to the Archives of American Art in 1991 by Sandra Golvin, President of the Board of Directors. An small addition of a set of "Cross Pollination" posters was donated in 2019 by by ONE Archives at University of Southern California Libraries via Loni Shibuyama, Archives Librarian.

Topic:

Works of art  Search this

Art -- Study and teaching -- California -- Los Angeles  Search this

Women artists  Search this

Feminism and art  Search this

Function:

Nonprofit organizations -- California

Arts organizations -- California

Genre/Form:

Slides

Artists' books

Citation:

Woman's Building records, 1970-1992. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Foundation. Funding for the digitization of this collection was provided by The Walton Family Foundation and Joyce F. Menschel, Vital Projects Fund, Inc.

Identifier:

AAA.womabuil

See more items in:

Woman's Building records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw938796dfe-5dbf-49e9-96e7-5a8745391f13

EDAN-URL:

ead_collection:sova-aaa-womabuil

Creator:

Guild Art Gallery  Search this

Subject:

Walinska, Anna  Search this

Ney, Lloyd Raymond  Search this

Lefranc, Margaret  Search this

Gorky, Arshile  Search this

Menkes, Sigmund  Search this

Type:

Scrapbooks

Citation:

Guild Art Gallery records, circa 1933-1937. Archives of American Art, Smithsonian Institution.

Topic:

Women art dealers  Search this

Jewish artists  Search this

Theme:

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)8280

(DSI-AAA_SIRISBib)210451

AAA_collcode_guilart

Theme:

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210451

Creator:

Kootz Gallery (New York, N.Y.)  Search this

Subject:

Kootz, Samuel M.  Search this

Hare, David  Search this

Picasso, Pablo  Search this

Hofmann, Hans  Search this

Baziotes, William  Search this

Motherwell, Robert  Search this

Type:

Scrapbooks

Citation:

Kootz Gallery records, 1923-1966. Archives of American Art, Smithsonian Institution.

Topic:

Abstract expressionism  Search this

Modernism (Art)  Search this

Theme:

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)9163

(DSI-AAA_SIRISBib)211357

AAA_collcode_kootgall

Theme:

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211357

Creator:

Frank Perls Gallery  Search this

Names:

Curt Valentin Gallery (New York, N.Y.)  Search this

M. Knoedler & Co.  Search this

Amato, Sam, 1924-  Search this

Brice, William, 1921-  Search this

Chuey, Robert  Search this

Lebrun, Rico, 1900-1964  Search this

Lipchitz, Jacques, 1891-1973  Search this

Matisse, Henri, 1869-1954  Search this

McGarrell, James, 1930-  Search this

Peake, Channing, 1910-  Search this

Perls, Frank, 1910-1975  Search this

Perls, Klaus  Search this

Picasso, Pablo, 1881-1973  Search this

Ray, Man, 1890-1976  Search this

Strombotne, James  Search this

Warsaw, Howard  Search this

Extent:

23.8 Linear feet

Type:

Collection descriptions

Archival materials

Short stories

Scrapbooks

Photographs

Sales records

Gallery records

Date:

circa 1920-1983

bulk 1949-1975

Summary:

The Frank Perls papers and Frank Perls Gallery records measure 23.8 linear feet and date from 1920-1983, with the bulk dating from 1949-1975. Personal papers include writings, military records, appointment calendars, and photographs. Gallery records date from its opening in 1939 until its closure in 1981 and consist of financial, sales, and legal records; exhibition files; exhibition catalogs and announcements; subject files that contain a variety of correspondence with artists, dealers, galleries, museums, and friends and family, as well as reference materials and photographs; and scrapbooks.

Scope and Content Note:

The Frank Perls papers and Frank Perls Gallery records measure 23.8 linear feet and date from 1920-1983, with the bulk dating from 1949-1975. Personal papers include writings, military records, appointment calendars, and photographs. Gallery records date from its opening in 1939 until its closure in 1981 and consist of financial, sales, and legal records; exhibition files; exhibition catalogs and announcements; subject files that contain a variety of correspondence with artists, dealers, galleries, museums, and friends and family, as well as reference materials and photographs; and scrapbooks.

Personal papers contain biographical materials, including military records from Perls' service in the army during World War II, personal photographs, documentation on his estate settlement, and numerous short stories. Of particular interest are Perl's stories about his interactions with Pablo Picasso and his work to uncover fraud, fakes, and corruption in the art world. There are also many photographs of Picasso, photographs of family, the war, and Perls, including two original photographs of Perls by Man Ray.

Gallery sales, purchases, consignments, insurance appraisals, loans, provenance research, and general business expenses are well documented in the General Business and Financial Records. Perls jointly owned artwork with several galleries in New York, including the Curt Valentine Gallery and M. Knoedler Gallery, and these consignment and joint sales are documented in the invoices. A complete accounting of the Gallery's income and expense reports from 1950-1971 is also be found in this series. Artists extensively documented through financial transactions are William Brice, James Strombotne, and Howard Warsaw.

Extensive exhibition files document the gallery's exhibitions and Perl's curatorial work. Files contain varied documentation, such as photographs, catalogs, announcements, and publicity for Frank Perls Gallery shows from 1939 through 1971. Artists represented in this series include Sam Amato, Robert Chuey, Jaques Lipchitz, Pablo Picasso, James McGarrell, and James Strombotne. Files are also found for the two major retrospective exhibitions Perls organized and curated, Matisse Retrospective at University of California, Los Angeles and Sixty Years of Picasso Prints at the Los Angeles County Museum of Art, both in 1966. Additional information about these exhibitions is also found in the Subject Files.

Subject Files are extensive and varied in name, content, and topic. They consist mostly of correspondence with friends, family, colleagues, artists, critics, galleries and dealers, clients, arts organizations and associations, publications, and others. There are also reference files and exhibition files for exhibitions held at other galleries and museums in which Perls was interested, guest curated, or loaned artwork. The contents of each file unit varies, but many include correspondence, photographs, appraisal records, sales records, invoices, reports, and membership records. The files highlight his close personal relationship with many artists, including William Brice, Rico Lebrun, James McGarrell, Channing Peake, Pablo Picasso, and James Strombotne. Subject Files also contain abundant correspondence with colleagues and family members, including his brother Klaus, who owned and operated the Perls Gallery in New York. Many of the files concern Perl's work with art documentation and authentication. Subject Files have been arranged according to Frank Perls original order.

Finally, scrapbooks contain newspaper articles, catalogs, and announcements about exhibitions at the Perls Gallery in New York during the late 1930s and the Frank Perls Gallery in Los Angeles during the 1950s.

Arrangement:

The collection is arranged into 5 series:

Missing Title

Series 1: Frank Perls papers, circa 1920-1981 (Box 1-2, 28; 1.1 linear feet)

Series 2: General Financial and Business Records, 1949-1975 (Box 2-4, 23-27; 3.4 linear feet)

Series 3: Exhibition Files, 1937-1975 (Box 5-6; 1.5 linear feet)

Series 4: Subject Files, circa 1939-1983 (Box 6-22; 16.5 linear feet)

Series 5. Scrapbooks, 1937-1957 (Box 28; 0.3 linear feet)

Historical Note:

Frank Perls (1910-1975) was founder and sole owner of the Frank Perls Gallery in Beverly Hills, California.

Frank Perls was born in Germany on October 23, 1910. His parents, Hugo and Kaethe Perls, owned one of the leading art galleries in Berlin, and sold the work of many well-known artists. Artists works included in the gallery inventory were pieces by Edvard Munch, Pablo Picasso, Claude Monet, Vincent van Gogh, and Paul Cézanne, among others. His parents enjoyed a close friendship with Picasso, a relationship Perls maintained until Picasso's death in 1973. After his parents divorce in 1931, his mother left Germany and eventually opened the Galerie Kaethe in Paris.Frank Perls studied art history at the Universities of Munich, Berlin, and Frankfurt and joined his mother at the Galerie Kaethe in 1932.

Frank Perls immigrated to the United States in 1937 and partnered with his brother, Klaus Perls, to open the Perls Galleries in New York. Two years later he moved to California and opened the Frank Perls Gallery on Sunset Boulevard in Hollywood. During those first years, the Gallery hosted exhibitions by Man Ray, Eugene Berman, and John Decker.

Perls closed his gallery in 1942 when he enlisted in the United States Army. Because he was fluent in both French and German, Perls served as an interpreter at the Military Intelligence Service, European Theater of Operations. He landed in Normandy with the 30th Infantry Division and was awarded the Bronze Star in 1944. In 1945, Perls was assigned to the Arts and Monuments Section of Allied Military Government in Germany. He was honorably discharged in September, 1945.

After the war, Perls returned to Los Angeles and managed the recently opened Associated American Artists Gallery in Beverly Hills. The gallery was organized in 1934 and marketed art to the middle classes with the opportunity to purchase prints at affordable prices. Perls made significant contacts during his tenure at the gallery and eventually opened his own Beverly Hills gallery in 1950.

The Frank Perls Gallery on Camden Drive was closely associated with the Pierre Matisse Gallery and the Curt Valentin Gallery in New York, both major sources of exhibition materials for the early years. Perls introduced southern California to artists he believed represented the best modern art of America and Europe - Henri Matisse, Georges Braque, Alexander Calder, Pablo Picasso, Ben Shahn, Georgia O'Keeffe, Marc Chagall, Paul Klee, and Jean Dubuffet. Between 1950 to 1954, Frank Perls Gallery organized the first West coast exhibitions of Joan Miro, Marino Marini, and Alberto Giacometti. Perls also gave exhibitions to newly emerging artists of Southern California artists, including William Brice, Robert Chuey, Rico Lebrun, James McGarrell, Channing Peake, and Howard Warsaw.

Perls moved his gallery to Wilshire Boulevard in 1965 and stopped representing California artists at that time to focus primarily on major exhibitions of Henri Matisse and Picasso. In 1966, he helped organize an extensive traveling Henri Matisse exhibition at UCLA called Matisse Retrospective. Perls worked with Matisse's children, Pierre, Jean, and Marguerite Duthuit, to identify 345 prints and sculptures and attach family inventory numbers to them.

Frank Perls also organized several large Picasso exhibitions, including the Bonne Fete Monsieur Picasso exhibit at UCLA in 1961 and the 45 Selected Picasso Graphics exhibition at Frank Perls Gallery in 1971. For his work in preparing these major exhibitions in California of Matisse and Picasso, Perls was made a life fellow of the Los Angeles County Museum.

Perls was a member of the Art Dealers of America, serving for several years on the Board of Directors and as director. He was also dedicated to exposing art fakes and forgeries, earning a reputation for discovering, exposing, and pursuing disreputable art appraisers and dealers. Perls wrote extensively about modern art and artists, as well as his experiences in short stories that often appeared in print.

Frank Perls died on February 8, 1975 from complications following open-heart surgery. The Gallery remained open until 1981 while his executor and family distributed the gallery inventory.

Provenance:

The Frank Perls papers and Frank Perls Gallery records were donated by Joan Hazlitt, one of the executors of the Perls' estate, from 1976-1988.

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:

Gallery owners -- California  Search this

Topic:

Art -- Economic aspects  Search this

Art -- Collectors and collecting -- California -- Beverly Hills  Search this

World War, 1939-1945  Search this

Curators -- California  Search this

Art -- Forgeries  Search this

Function:

Art galleries, Commercial -- California

Genre/Form:

Short stories

Scrapbooks

Photographs

Sales records

Gallery records

Citation:

Frank Perls papers and Frank Perls Gallery records, circa 1920-1983, bulk 1949-1975. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.perlfran

See more items in:

Frank Perls papers and Frank Perls Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9163380a7-6151-44d0-b553-a17e8aae42a0

EDAN-URL:

ead_collection:sova-aaa-perlfran

Publisher:

Cadart, A.  Search this

Graphic artist:

Corot, Camille  Search this

Physical Description:

paper (overall material)

ink (overall material)

Measurements:

image: 29.5 cm x 22 cm; 11 5/8 in x 8 21/32 in

plate: 32 cm x 24 cm; 12 19/32 in x 9 7/16 in

overall: 46 cm x 32 cm; 18 1/8 in x 12 19/32 in

Object Name:

etching

Print

Object Type:

Etching

Place made:

France: Île-de-France, Paris

Date made:

1866

Subject:

Landscape  Search this

Credit Line:

Ferris Collection

ID Number:

GA.14579

Catalog number:

14579

Accession number:

94830

See more items in:

Work and Industry: Graphic Arts

Art

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a6-01a8-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1002082

Maker:

Richards, Walter Dubois  Search this

Physical Description:

paper (overall material)

ink (overall material)

Measurements:

overall: 13.1 cm x 18 cm; 5 5/32 in x 7 3/32 in

Object Name:

Print

Object Type:

Relief Processes

Other Terms:

Print; Relief; Linoleum Cut

Date made:

1935

Subject:

Trees  Search this

Workers  Search this

Credit Line:

Gift of Mr. and Mrs. Harry Patton, 1971

ID Number:

GA.23299

Catalog number:

23299

Accession number:

296420

See more items in:

Work and Industry: Graphic Arts

Art

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a5-cbfc-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_784209