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Many things placed here and there the Dorothy and Herbert Vogel collection at the Yale University Art Gallery edited by Molleen Theodore ; with an essay by Robert Liles and Molleen Theodore and contributions by Bradley Bailey, Laura Indick, Allegra Krasznekewicz, Nicholle Lamartina, Elena Light, Audrey Sands, Emma Sokoloff

Editor:
Theodore, Molleen  Search this
Author:
Yale University Art Gallery  Search this
Physical description:
56 pages illustrations (some color) 27 cm
Type:
Exhibitions
Expositions
Exhibition catalogues
Exhibition catalogs
Catalogues d'exposition
Place:
New York (State)
New York
United States
New York (État)
ìtats-Unis
États-Unis
Date:
2013
20th century
20e siècle
Topic:
Art, American  Search this
Art--Private collections  Search this
Art américain  Search this
Art--Collections privées  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1031096

World House Galleries records

Creator:
World House Galleries  Search this
Names:
Art Students League (New York, N.Y.)  Search this
Christie, Manson & Woods International Inc.  Search this
Colgate University  Search this
Parke-Bernet Galleries  Search this
Parsons School of Design  Search this
Sotheby's (Firm)  Search this
Dubuffet, Jean, 1901-  Search this
Kirchner, Ernst Ludwig, 1880-1938  Search this
Klee, Paul, 1879-1940  Search this
Mayer, Herbert, 1908-1991  Search this
Morandi, Giorgio, 1890-1964  Search this
Extent:
9.8 Linear feet (11 boxes, 1 OV)
Type:
Collection descriptions
Archival materials
Photographs
Date:
1927-1991
bulk 1953-1980
Summary:
The records of New York City World House Galleries measure 9.8 linear feet and date from 1927 to 1991, with the bulk of them dating from 1953 to 1980. The collection documents the gallery's general business affairs, sales, and relationships with artists from 1953-1968, and later gifts and sales by founder entrepreneur and art collector Herbert Mayer. Artists for which files are found include Jean Dubuffet, Ernst Ludwig Kirchner, Paul Klee and Georgio Morandi, among many others. Additional records include correspondence, inventory records, sales and purchase records, records of gifts and auctions, and shipping and consignment records.
Scope and Contents:
The records of New York City World House Galleries measure 9.8 linear feet and date from 1927 to 1991, with the bulk of the records dating from 1953 to 1980. The collection documents the gallery's general business affairs, sales, and relationships with artists from 1953-1968, and later gifts and sales by founder entrepreneur and art collector Herbert Mayer. Artists for which files are found include Jean Dubuffet, Ernst Ludwig Kirchner, Paul Klee and Georgio Morandi, among many others. Additional records include correspondence, inventory records, sales and purchase records, records of gifts and auctions, and shipping and consignment records.

Correspondence is somewhat scattered and concerns administrative matters and business with galleries, collectors, museums, and a few artists.

Artist files contain a variety of documents, such as correspondence, artist statements and resumes, sales records, printed materials, and photographs about artists who were either represented by World House Galleries or in whom the gallery was interested. Artists for which files are found include Jean Dubuffet, Ernst Ludwig Kirchner, Paul Klee and Georgio Morandi, among many others.

Inventory records include art inventory lists and notes, provenance documentation, and consignment records. Also found are financial records of sales and of purchases made abroad and within the United States.

Documents about Herbert Mayer's donations to Colgate University and other organizations and institutions, including the Art Students League and Parsons School of Design are in the Gifts series. These records include correspondence, printed materials, and copies of agreements and forms.

Auction records are found for sales through Christie's, Sotheby's and Parke-Bernet auction houses of World House Galleries art inventory, and Herbert Mayer's personal art collection. This series contains photographs of art, auction catalogs, correspondence, and other miscellaneous materials.

Shipping files contain documents such as statements, customs forms, and correspondence about shipments of art from around the world, mostly from Europe, to World House Galleries.
Arrangement:
This collection is arranged as 7 series.

Missing Title

Series 1: Correspondence, 1962-1987 (0.8 linear feet; Box 1)

Series 2: Artist Files, 1927-1991 (4.6 linear feet; Box 1-6, 11, OV 12)

Series 3: Inventory Records, 1953-1986 (0.6 linear feet; Box 6)

Series 4: Sales & Purchases, 1956-1987 (0.4 linear feet; Box 6-7)

Series 5: Gifts, 1970-1987 (0.6 linear feet; Box 7, 11, OV 12)

Series 6: Auctions, 1956-1959, 1968-1988 (1.4 linear feet; Box 7-9, 11)

Series 7: Shipping Statements, 1958, 1968-1986 (1.4 linear feet; Box 9-10)
Biographical / Historical:
World House Galleries was founded by Herbert Mayer, Sr. in 1953 in New York City. The gallery operated until 1968, representing an eclectic group of artists from around the world.

Herbert Mayer (circa 1911-1993) was a lawyer, businessman and owner of the World House Galleries in New York City. He attended Colgate University in Hamilton, New York where he majored in English and graduated in 1929. After graduation, he traveled through Europe with Colgate English Professor Russell Speirs and the four months he spent in Paris studying art at the Louvre was a formative experience for Mayer. He went on to attend law school at the University of Wisconsin. He was lawyer in New York until the early 1940s, then began selling television sets which were more familiar to the U.S. public after the 1939 World's Fair. In 1944, Mayer stopped practicing law and became a television magnate. He founded the Empire Coil Company, which manufactured radiofrequency coils for television sets and stations. From 1949 through 1952, Mayer launched television stations in Cleveland, Ohio; Portland, Oregon; and Kansas City, Missouri.

In 1953, Mayer bid farewell to the world of television and founded the World House Galleries. The gallery was located on Madison Avenue in New York City's Carlyle Hotel, occupying a total of 6,900 square feet on two floors. Architect Frederick Kiesler was commissioned to design the space. Mayer's goal was to attract a wider audience to contemporary international art and, in his words, "express the thinking and feeling of contemporary artists everywhere — wherever unusual talent is discovered." Mayer worked closely with Colgate Professor Alfred Krakusin, who became the gallery advisor, and the two frequently traveled together in search of new art. On his trips abroad, Mayer also purchased art for his personal collection.

World House Galleries represented an eclectic group of European artists such as Jean Dubuffet, Ernst Ludwig Kirchner, Paul Klee and Georgio Morandi in addition to lesser known artists. World House Galleries exhibitions included art for sale within the gallery, as well as art loaned from private collections and museums. The gallery represented an eclectic group of artists from Austria, France, Finland, Greece, Iceland, Italy, Norway, Spain and Sweden. Mayer and Krakusin also collaborated on Sculptura, a business which created bronze casts of statues and plaques to be sold at the gallery.

World House Galleries had strong ties with Colgate University and Mayer arranged numerous exhibitions at his alma mater between 1956 and 1962. The exhibitions were held in the basement of Lawrence Hall and showcased art from World House Galleries and Mayer's personal collection. In 1958, Mayer donated the first of many gifts of art to Colgate University. His largest gift of almost 2000 paintings, sculptures, and drawings occurred in 1967 and became the core collection for what is now known as Colgate's Picker Art Gallery.

After World House Galleries closed in 1968 Herbert Mayer continued to sell art through auction houses and galleries as well as make donations to Colgate and various other organizations through the 1980s. In early 1971, Mayer contacted Parke-Bernet Galleries, Inc. to arrange an auction of artwork from his personal collection. The bulk of his collection was sold through Parke-Bernet in 1984.

Mayer died in 1991, survived by his wife, Bet, and their five children. Through exhibitions which showcased art from different countries, World House Galleries exposed the New York art world to a more diverse vision of international modernism.
Provenance:
The World House Galleries records were donated in 2002 by Herbert Mayer, Jr., son of gallery founder Herbert Mayer.
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.
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Photographs
Citation:
World House Galleries records, 1927-1991, bulk 1953-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.worlhoug
See more items in:
World House Galleries records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9fc84af9a-e5bd-4dea-91e0-cc531dd51421
EDAN-URL:
ead_collection:sova-aaa-worlhoug
Online Media:

Evelyn Eisgrau papers

Creator:
Eisgrau, Evelyn  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1965-1978
Summary:
The papers of New York-based painter Evelyn Eisgrau measure 0.2 linear feet and date from circa 1965 to 1978. The papers include a resume, letter, a notebook containing Eisgrau's notes from "Women in the Arts" meetings, notes for lectures; photographs of Eisgrau with her students, with her art works, and painting a portrait of Connie Elikann; exhibition catalogs, clippings, and miscellaneous printed material.
Scope and Contents:
The papers of New York-based painter Evelyn Eisgrau measure 0.2 linear feet and date from circa 1965 to 1978. The papers include a resume, letter, a notebook containing Eisgrau's notes from "Women in the Arts" meetings, notes for lectures; photographs of Eisgrau with her students, with her art works, and painting a portrait of Connie Elikann; exhibition catalogs, clippings, and miscellaneous printed material.
Arrangement:
Due to the small size of this collection, the papers are arranged as one series.

Series 1: Evelyn Eisgrau Papers, circa 1965-1978 (0.2 linear feet; 34 items)
Biographical / Historical:
Evelyn Eisgrau was a painter based in New York, N.Y. Eisgrau was born in New York City and studied art at the Art Students League, Brooklyn Museum, and the New School. In addition to painting, she was the director of her own eponymous studio-workshop in Greenwich Village, where she lectured and taught art. She was also one of the executive coordinators for the Women in the Arts Foundation for a time. She exhibited widely both in the U.S. and abroad, including France, and she won the Prix de Paris award in 1967. Her early work included commissioned portraits that are in numerous private collections.
Provenance:
The Evelyn Eisgrau papers were donated to the Archives of American Art in 1978 by Evelyn Eisgrau.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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 rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Citation:
Evelyn Eisgrau papers, circa 1965-1978. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.eisgevel
See more items in:
Evelyn Eisgrau papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90cdf346f-3675-4146-ab99-e76bfe332c71
EDAN-URL:
ead_collection:sova-aaa-eisgevel
Online Media:

Chaim Gross papers

Creator:
Gross, Chaim, 1904-1991  Search this
Names:
Blume, Peter, 1906-1992  Search this
Grooms, Mimi Gross  Search this
Newman, Arnold, 1918-2006  Search this
Robbins, Warren M.  Search this
Soyer, Raphael, 1899-1987  Search this
Extent:
21.1 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Video recordings
Motion pictures (visual works)
Date:
1920-2004
Summary:
The papers of New York City sculptor and teacher Chaim Gross measure 21.1 linear feet and date from 1920-2004. The collection provides comprehensive documentation of Gross's career through biographical material, personal and professional correspondence with family, artists, writers, galleries, museums, educational institutions, and religious and philanthropic organizations, writings, personal business records, extensive printed and published material including motion picture film and video recordings of four documentaries, one hundred and fifteen sketchbooks spanning the bulk of Gross's career, and photographs of Gross, his family, many friends and colleagues from the art world, his studio, personal art collection, and works of art. An unprocessed addition of three sketchbooks was donated in 2020.
Scope and Contents:
The papers of New York City sculptor and teacher Chaim Gross measure 21.1 linear feet and date from 1920-2004. The collection provides comprehensive documentation of Gross's career through biographical material, personal and professional correspondence with family, artists, writers, galleries, museums, educational institutions, and religious and philanthropic organizations, writings, personal business records, extensive printed and published material including motion picture film and video recordings of four documentaries, one hundred and fifteen sketchbooks spanning the bulk of Gross's career, and photographs of Gross, his family, many friends and colleagues from the art world, his studio, personal art collection, and works of art.

Biographical material includes records collated to document awards and honors given to Gross documenting the recognition he received for his lifelong achievements in the last two decades of his career, including from the American Academy of Arts and Letters and the National Academy of Design. The series also includes Gross's birth certificate printed in 1920, some biographical notes and resumes prior to the 1970s, documentation of Gross's business and personal contacts through addresses and business cards, and a motion picture film of a documentary about Gross, Art and the Model, made in 1976 by Thea Bay and edited by Bob Worth.

Personal and professional correspondence constitutes the largest series in the collection and documents all aspects of Gross's prolific career including: personal letters from friends and family such as daughter Mimi Gross and Red Grooms; professional correspondence with galleries, museums, and other art institutions including the Jewish Museum, Metropolitan Museum of Art, the Smithsonian American Art Museum, the Hirshhorn Museum and Sculpture Garden, and the Whitney Museum of American Art; correspondence documenting commissions, loans, and sales of Gross's artwork through galleries including Forum Gallery; and correspondence with synagogues including International Synagogue, Temple Sharaay Tefila, and Temple Sinai, Pittsburgh, and multiple other Jewish organizations such as Hadassah and State of Israel Bonds. Correspondence also documents publications by and about Gross including letters from Abe Lerner, the Jewish Publication Society of America, Chaim Potok, and Harry N. Abrams, Inc.; Gross's work as a teacher including at the Educational Alliance and the New School for Social Research; and the significance of Gross's personal collection of African art through correspondence with Warren M. Robbins, the Smithsonian Museum of African Art, and others. Gross's work for the Works Progress Administration Federal Art Project and Treasury Relief Project, as well as for the 1939 World's Fair, is also documented in this series and includes contracts and correspondence with Ed Rowan.

Correspondence includes many letters from artist friends and colleagues including Isabel Bishop, Peter Blume, Eliot Elisofon, Eugenie Gershoy, Milton Hebald, Lewis Jacobs, Karl Knaths, Arnold Newman, Elias Newman, Saul Rosen, Moses Soyer, Raphael Soyer, Nicholas Sperakis, William and Marguerite Zorach, and many others. Writers and scholars who corresponded with Gross include Samuel French Morse, Jack C. Rich, Shea Tenenbaum, Roberta Tarbell, and others.

Writings primarily consist of a partial draft of Gross's book The Technique of Wood Sculpture but also include a copy of his first published article in 1938 in the American Federation of Arts Magazine of Art, and a few short writings by Gross on other artists. Writings by others include a memoir of Gross's boyhood written by his brother, poet Naftoli Gross.

Gross's personal business records are scattered, as many transactional records are included with his correspondence. They do include lists of Gross's artwork and his personal art collection, two agreements for rights to use his work, appraisals of twelve of his works of art, and receipts of consignments, sales, loans, and gifts of artwork.

Printed material is a comprehensive and substantial record of Gross's exhibitions, and his prolific engagement in the arts and his community throughout his long career. This series includes announcements and catalogs for many of his exhibitions, brochures and programs for art organizations for which he exhibited, taught, donated to, or was otherwise represented in, notably the Educational Alliance, the New School for Social Research, the Sculptors Guild, Inc., and numerous other private and public museums, galleries, and institutions. Also found is circa one linear foot of clippings about Gross that span his career from newspapers, magazines, and journals, including some Hebrew and Yiddish publications. The series also houses video recordings of the documentaries Tree Trunk to Head and A Sculptor Speaks, and an NBC broadcast of an interview with Gross entitled The Two Chaims, as the motion picture film, A Sculptor Speaks.

Sketchbooks provide a unique visual record of Gross's development and the shifting focus of his subject matter from 1933 to right before his death in 1991. They record his early subjects of acrobatic models, family bonds, and landscapes, and the emergence of darker "fantasy" drawings in the wake of the Holocaust and World War II which brought the news of the murder of his brother and sister and her family by the Nazis. The sketchbooks document Gross's travels abroad during the 1960s, and his incorporation of Jewish iconography and Old Testament themes in the 1960s and 1970s. They also illustrate how the constant theme of the celebration of the human form persisted in his work to the end of his life.

Photographs of people and events, although only measuring 0.7 linear feet, provide a rich visual record of Gross's life and his professional and personal relationships from the time he arrived in the United States in 1920 to the late 1980s. The earliest photographs picture Gross with his brothers and with new friends at the Educational Alliance including Moses and Raphael Soyer, Peter Blume, and Elias Newman. There are many photographs of Gross working in his studios, and at the Bedi-Makky Art Foundry in Brooklyn, photographs taken at parties, exhibition openings, receptions, and other events, and photographs of Gross's art collection and exhibition installations. Photographs picture artists such as Hyman Brown, Jose de Creeft, Joseph Hirsch, Moses Soyer, and Raphael Soyer; and gallery owners and collectors including Bella Fishko, Joseph Hirshhorn, Sidney Janis, and Warren M. Robbins. The series also houses photographs of works of art, primarily sculpture, executed by Gross between 1922 and 1987.

An unprocessed addition of three sketchbooks was donated in 2020.
Arrangement:
The collection is arranged as eight series.

Series 1: Biographical Material, 1920-circa 1991 (0.35 linear feet; Box 1, FC23)

Series 2: Correspondence, 1926-1997 (8.75 linear feet; Boxes 1-9, 22)

Series 3: Writings and Notes, 1938-circa 1980s (0.25 linear feet; Boxes 9-10)

Series 4: Personal Business Records, circa 1936-1982 (0.25 linear feet; Box 10)

Series 5: Printed Material, 1925-2004 (3.7 linear feet; Boxes 10-14, 22, FC 24)

Series 6: Sketchbooks, 1933-1991 (6.1 linear feet; Boxes 14-19, 22)

Series 7: Photographs, circa 1921-circa 1990s (1.5 linear feet; Boxes 20-22)

Series 8: Unprocessed Addition, 1949-1951 (0.2 linear feet; Box 25)
Biographical / Historical:
New York City sculptor and teacher Chaim Gross (1904-1991) is considered one of America's foremost sculptors, known for his semi-abstract bronzes celebrating the human form, and his pioneering work in direct wood carving. Gross taught for over fifty years at the Educational Alliance Art School and for forty years at the New School for Social Research.

Born in 1904 in Wolowa, Galicia, in what is now the Ukraine, Gross studied at the National Academy of Fine Arts in Budapest in 1919 and at the Kunstgewerbeschule in Vienna in 1920 before immigrating to New York in 1921. He attended the Lower East Side Educational Art School in New York City from 1921-1927 where he began lifelong friendships with artists Moses Soyer, Raphael Soyer, Peter Blume and other important twentieth century artists. Gross also studied with Elie Nadelman at the Beaux-Arts Institute of Design and Robert Laurent at the Art Students League. He began teaching at the Educational Alliance in 1927 where his students included Louise Nevelson.

Gross married Renee Nechin in 1932 and they had two children, Yehuda and Miriam (Mimi). Mimi Gross is a New York-based artist who was married to artist Red Grooms from 1963-1976.

Gross's first solo exhibition was held at Gallery 144 in New York City in 1932, and he began to develop a reputation as a major contemporary sculptor when he joined the Federal Art Project in 1934 and won a commission from the Treasury Department competition for art works for public buildings in 1936. His projects included relief panels for the Federal Trade Commission building in Washington, D. C., and a large-scale family group for the France Overseas and Finnish Buildings at the 1939 New York World's Fair. In 1938 Gross founded the Sculptors Guild with William Zorach and served as the guild's first president. His work began to be acquired by major American museums, including the Whitney Museum of American Art, and the Metropolitan Museum of Art which in 1939 awarded Gross a $3000 purchase prize for his wood sculpture of circus performer Lillian Leitzel.

In 1938 filmmaker Lewis Jacobs produced a thirty minute film, Tree Trunk to Head, of Gross carving a wood sculpture of Renee Gross in his studio. Lewis subsequently produced a seventeen minute film, The Sculptor Speaks, of Gross working in his studio in 1957. That same year Gross published an influential how-to book The Technique of Wood Sculpture, featuring photographs by Eliot Elisofon.

Much of Gross's early work focused on performers such as acrobats and dancers, family groups, and the mother and child bond. The bulk of his work was in wood, particularly hardwoods with a dark or pronounced grain. In the 1940s, after hearing that his brother Pincus and sister Sarah and her family had been murdered by the Nazis, Gross devoted time daily to sketching in his notebooks, producing a visual diary of the emotional trauma involved in processing their horrific fate and navigating his own grief. A collection of the drawings was published in Chaim Gross: Fantasy Drawings (Beechurst Press) in 1956. Gross carved My Sister Sarah – in Memoriam (no. 36) in 1947 and made the first of seven trips to Israel in 1949.

By the late 1950s Gross was working less in direct carving and was focusing primarily on modeling in plaster on an armature for casting in bronze. In 1957 and 1959 he traveled to Rome, Italy, and worked with the Nicci Foundry. Bella Fishko began representing Gross's work after establishing Forum Gallery in New York City in 1961. After 1947 Gross had begun to incorporate more Jewish iconography and Old Testament themes into his work, designing and casting large scale menorahs for synagogues such as Temple Sinai in Pittsburgh and the Menorah Home for the Aged in Brooklyn during the 1960s. He executed six bronze panels, entitled Six Days of Creation, for Temple Sharaay Tefila in New York City in 1964, and Ten Commandments for the International Synagogue at Kennedy Airport in 1970-1971. In 1973 Gross illustrated The Book of Isaiah, published by the Jewish Publication Society of America.

Gross was active in many art-related and philanthropic organizations throughout his life and was the recipient of numerous awards, honors, and honorary degrees. He was elected to membership of the National Institute of Arts and Letters in 1964, became an Academician at the National Academy of Design in 1983, and was inducted into the American Academy of Arts and Letters in 1984. A solo exhibition Chaim Gross: Sculpture and Drawings, was held at the Smithsonian's National Collection of Fine Arts in 1974. In 1977 Gross had three retrospective exhibitions at the Lowe Art Museum at the University of Miami, the Montclair Art Museum, and the Jewish Museum in New York City. Scholar Roberta Tarbell wrote a key essay on Gross for the Jewish Museum exhibition.

In addition to being a professor of sculpture and printmaking at the Educational Alliance Art School and the New School for Social Research, Gross taught at the Brooklyn Museum Art School, the art school of the Museum of Modern Art, and the Art Students League.

Gross had begun collecting African sculpture in the 1930s and was later introduced by art critic Frank Getlein to Warren M. Robbins, who established the Museum of African Art in 1964. Gross gave Robbins several pieces for the museum and connected him with other individuals whose private collections of African art Robbins learned would be key to the success of the museum. A selection from Gross's renowned collection was exhibited at the Worcester Art Museum in The Sculptor's Eye: The African Art Collection of Mr. and Mrs. Chaim Gross in 1976.

The Renee & Chaim Gross Foundation was created in 1974 at 526 LaGuardia Place, the historic Greenwich Village townhouse which Chaim and Renee Gross purchased in 1962 and renovated to include studio and gallery space with living quarters above. Three years after Gross's death in 1991, the Renee and Chaim Gross foundation opened to the public with a memorial exhibition of the sculptor's work. 526 LaGuardia Place continues to house an extensive collection of Gross's artwork, a photographic archive, and Gross's personal art collection. Gross's work is represented in major museums throughout the United States and abroad, with the Smithsonian's Hirshhorn Museum and Sculpture Garden housing the largest collection of his sculpture in a public museum.
Related Materials:
Additional Chaim Gross papers are held by Syracuse University.
The Archives of American Art also holds an oral history interview of Chaim Gross conducted 1964 September 1 by Dorothy Seckler and an oral history interview of Chaim Gross conducted 1981 May 26-27 by Milton Wolf Brown.
Separated Materials:
The Archives of American Art holds the microfilm (Reels D115a, 924, and 925) of ten record books, 1926-1975, containing rough drawings of artworks, dimensions, titles, dates, materials, production locations, and information regarding owners. The record books were returned to the donor after microfilming and are not described in the collection container inventory.
Provenance:
The Chaim Gross papers were given to the Archives of American Art in a series of accessions by Chaim Gross from 1963-1983. Thirteen postcards were given by Mrs. Irving Marantz in 1975. Mimi Gross donated eight letters and two envelopes in 2005. Additional papers were donated by the Renee and Chaim Gross Foundation in 2016 via Susan Fisher, executive Director, and in 2017 and 2020 by the Foundation via Sasha Davis, Interim Director and Curator of Collections.
Restrictions:
Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. 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.
Occupation:
Sculptors -- New York (State) -- New York  Search this
Art teachers -- New York (State) -- New York  Search this
Topic:
Jewish artists  Search this
Sculpture, Modern -- 20th century  Search this
Genre/Form:
Sketchbooks
Video recordings
Motion pictures (visual works)
Citation:
Chaim Gross papers, 1920-2004. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.groschai
See more items in:
Chaim Gross papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e77fa914-8285-4fca-a0f9-63172974dee1
EDAN-URL:
ead_collection:sova-aaa-groschai
Online Media:

Twentieth-century art from the Nelson Aldrich Rockefeller Collection

Author:
Museum of Modern Art (New York, N.Y.)  Search this
Subject:
Rockefeller, Nelson A (Nelson Aldrich),) 1908-1979 Art collections  Search this
Rockefeller, Nelson A (Nelson Aldrich),) 1908-1979 Art collections  Search this
Rockefeller, Nelson A (Nelson Aldrich) 1908-1979 Collections d'art  Search this
Rockefeller, Nelson A (Nelson Aldrich) 1908-1979 Art collections  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Museum of Modern Art (New York, N.Y.) Catalogues  Search this
Physical description:
139 pages illustrationtrations (part color) 28 cm
Type:
Exhibitions
Catalogs
Catalogues
Expositions
Exhibition catalogues
Catalogues d'exposition
Exhibition catalogs
Place:
New York (State)
New York
New York (État)
Date:
1969
20th century
20e siècle
Topic:
Art, Modern  Search this
Art--Private collections  Search this
Art  Search this
Art--Collections privées  Search this
Call number:
N6490 .N44
N6490.N44
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1075

Wayne Nowack papers

Creator:
Nowack, Wayne, 1923-2004  Search this
Names:
Stone, Allan  Search this
Extent:
4 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Photographs
Date:
1881-1996
Summary:
The papers of painter and writer Wayne Nowack measure 4.0 linear feet and date from 1881-1996. The collection includes biographical material, personal and professional correspondence, printed material, writings, and photographs of art work and slides.
Scope and Contents:
The papers of painter and writer Wayne Nowack measure 4.0 linear feet and date from 1881-1996. The collection includes biographical material, personal and professional correspondence, printed material, writings, and photographs of art work and slides.

Biographical material includes genealogical items related to Nowack and his family as well as a list of public and private collections in which his work appeared.

Correspondence includes personal correspondence with his family, professional correspondence with Allan Stone, his dealer of 20 years, and general correspondence with others.

Printed material is comprised of exhibition catalogs and clippings of reviews of Nowack exhibitions.

Writings includes diaries, journals, journals, essays, and miscellaneous manuscripts that reflect Nowack's ideas on art, philosophy and the cultural climate of the time. Also found are Nowack's master's thesis from 1948 and various grant applications.

Photographic material includes an album of photographs from Nowack's grandparents, photographs of art work, and 750 slides of work.
Arrangement:
The collection is arranged in five series.

Series 1: Biographical Material, 1881-1989 (Box 1; 0.4 linear feet)

Series 2: Correspondence, 1947-1996 (Boxes 1-3; 1.7 linear feet)

Series 3: Printed Material, 1932-1974 (Box 3; 0.2 linear feet)

Series 4: Writings, 1939-1988 (Box 3; 0.6 linear feet)

Series 5: Photographic Material, 1903-1996 (Box 3-4; 1.1 linear feet)
Biographical / Historical:
Wayne Nowack (1923-2004) was a writer and painter in Spencer, New York. He was born in Des Moines, Iowa and graduated from the State University of Iowa in 1947, which later awarded him his master's degree (1948) and M.F.A (1950). Before teaching art for eight years at Union College in New York, he worked as an art therapist. He also taught at Windham College in Vermont and at Skidmore College in New York for brief periods. Nowack's drawings and box constructions were handled by the Allan Stone Gallery in New York.
Provenance:
The Wayne Nowack papers were donated to the Archives of American Art by Wayne Nowack in 1996.
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.
Occupation:
Painters -- New York (State)  Search this
Topic:
Art -- Philosophy  Search this
Authors -- New York  Search this
Genre/Form:
Diaries
Photographs
Citation:
Wayne Nowack papers, 1881-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nowawayn
See more items in:
Wayne Nowack papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9375ee92a-332d-40d2-ade9-044da11657c2
EDAN-URL:
ead_collection:sova-aaa-nowawayn

Rockwell Kent : the Joseph and Marjorie Relkin Collection : gallery exhibition March 16-May 9, 2009

Title:
Joseph and Marjorie Relkin Collection
Author:
Kent, Rockwell 1882-1971  Search this
Childs Gallery  Search this
Subject:
Kent, Rockwell 1882-1971  Search this
Relkin, Joseph Art collections  Search this
Relkin, Marjorie Art collections  Search this
Physical description:
42 p. : ill. ; 28 cm
Type:
Exhibitions
Place:
New York (State)
New York
Date:
2009
C2009
Topic:
Art--Private collections  Search this
Call number:
NE539.K42 A4 2009
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_919133

The Zorach family papers

Creator:
Zorach Family  Search this
Names:
Art Students League (New York, N.Y.)  Search this
Brooklyn Museum  Search this
Adams, Ansel, 1902-1984  Search this
Cunningham, Imogen, 1883-1976  Search this
Ipcar, Dahlov, 1917-2017  Search this
Newman, Arnold, 1918-2006  Search this
Partridge, Roi, 1888-1984  Search this
Zorach, Marguerite, 1887-1968  Search this
Zorach, Tessim  Search this
Zorach, William, 1887-1966  Search this
Extent:
4.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Prints
Articles
Sketchbooks
Photographs
Drawings
Scrapbooks
Notes
Writings
Date:
1900-1987
Summary:
The Zorach family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.
Scope and Content Note:
The Zorach family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.

The majority of correspondence is between Tessim Zorach and various museums and galleries concerning exhibitions and donations of his parents' works of art. There are scattered letters to William Zorach among the correspondence. Business records consist of materials relating to the Collection of the Zorach Children, including lists of works of art by the Zorach's, a file relating to an exhibition of Zorach artwork at the Brooklyn Museum, and photographs of works of art considered for donation.

Writings and Notes include a typescript of an article written by Marguerite Zorach, writings by William Zorach, a typescript of Young Poems by William and Marguerite, as well as articles written by others about the Zorachs. Artwork by Marguerite Zorach includes two prints and a tracing. Also found is one sketchbook, and additional drawings by William Zorach. There is one unsigned lithograph.

The majority of exhibition announcements, catalogs, and clippings concern William and Marguerite Zorach although there are two announcements for Dahlov Ipcar. There is one scrapbook of clippings about Marguerite.

The papers include photographs of Marguerite and William Zorach, their parents, baby photos of Tessim and Dahlov, family pictures of the Zorachs, and of Marguerite and William in their studios. There are several folders of William Zorach working in his studios and additional photos of him carving a relief sculpture and a sculpture for the Southwest Bank. Most of these photographs contain detailed annotations written by William Zorach about the work. There is one folder of photographs of William in France in 1910-1911, including one of Zorach in Roi Partridge's studio. There is one photograph of Zorach taken by Ansel Adams in Yosemite, a photo of Zorach working by Arnold Newman, and several taken by Imogen Cunnigham.

Other photographs are of works of art, most of which depict William's works.

Artifacts include Marguerite's batik tools and approximately fifty commercially made printing blocks.
Arrangement:
The collection is arranged into 9 series:

Missing Title

Series 1: Biographical Information, circa 1907-1969 (Box 1, 6; 3 folders)

Series 2: Correspondence, 1922-1982 (Box 1-2; 1.75 linear feet)

Series 3: Business Records, 1967-1971, circa 1960s-1970s (Box 2-3; 0.3 linear feet)

Series 4: Writings and Notes, circa 1930s-1973, 1987 (Box 3; 8 folders)

Series 5: Artworks, 1900-circa 1920s (Box 3, 6; 12 folders)

Series 6: Scrapbooks, 1922-1953 (Box 3; 1 folder)

Series 7: Printed Material, 1912-1982 (Box 3; 0.25 linear feet)

Series 8: Photographs, 1908-1966 (Box 3-5; 1.0 linear feet)

Series 9: Artifacts, circa 1910s, circa 1950s (Box 4; 0.5 linear feet)
Biographical Note:
William Zorach (1887-1966) was a modernist painter and sculptor working primarily in New York city, along with his wife Marguerite (1887-1968) who worked as a fauvist painter, printmaker, and textile artist. Their children were painter Dahlov Ipcar (1917-) and art collector Tessim Zorach (1915-1995.)

Born in Lithuania, William Zorach immigrated to the United States where his family settled in Cleveland, Ohio. An early interest in art led to a printmaking apprenticeship. He then moved to New York City and enrolled in the National Academy of Design where he studied painting and drawing. In 1910, Zorach traveled to Paris to study and where he met his wife Marguerite Thompson at the La Palette art school. Marguerite grew up in Fresno, California and studied art at Stanford University. Both artists were heavily influenced by the fauvist and cubist art movements.

Returning to America, Marguerite and William married and both continued to create and experiment with varied media. Their paintings were featured in the 1913 New York City Armory Show and they are credited with being among the first artists to introduce European modernist styles to American modernism. The Zorachs were very close both as a couple and as working active artists.

In the 1920s, Marguerite began to experiment with textiles and created large, fine art tapestries and hooked rugs. Also, she used batik dying techniques on fabrics. William also expanded his genre by creating direct sculpture in 1918, which would become his primary medium.

In 1915, William and Marguerite started a family with their son, Tessim. Two years later, their daughter Dahlov was born. The Zorachs divided the year and lived in New York City, New Hampshire, and Massachusetts. In 1923, the family bought a farm on Georgetown Island, Maine where they lived, worked, and entertained friends.

Dahlov and Tessim were exposed to art from an early age. Dahlov showed artistic promise as a child and her parents supported her creativity by allowing her to express herself without formal training. Dahlov pursued painting and later became an illustrator for children's books. Additionally, she wrote fantasy novels and short stories. Dahlov married Adolf Ipcar in 1936. Like the rest of his family, Tessim Zorach developed an interest of art and along with his wife Peggy, he amassed a large private collection of ancient to modern art.

William and Marguerite continued to sculpt and paint until their deaths in 1966 and 1968, respectively.

Together, Dahlov and Tessim established the Collection of the Zorach Children which coordinated donations of their parents' art to many museums throughout the United States and the world. The artwork of both artists is found in the collections of the Metropolitan Museum of Art, Brooklyn Museum, Whitney Museum of American Art, Delaware Art Museum, Museum of Fine Arts, Boston, Farnsworth Art Museum, Portland Museum of Art, National Gallery of Art, National Portrait Gallery and the Smithsonian American Art Museum, The Philips Collection, and educational institutions such as Colby College, University of Vermont, Williams College, Bowdoin College, and the University of Virginia. In addition William has works associated with many public buildings, among them: Radio City Music Hall, New York City Municipal Court, the U.S. Post Office in Washington D.C. as well as Farleigh Dickinson University.
Related Material:
The Archives of American Art holds the Dahlov Ipcar papers, 1906-1997. Also found is one oral history interview with William Zorach conducted by by John D. Morse on April 2, 1959 and an oral history interview with Dahlov Ipcar conducted by Robert F. Brown on November 13, 1979.

The bulk of William Zorach's papers are held by the Library of Congress.
Separated Material:
The Archives of American Art also holds material lent for microfilming on reels NY59-1-NY59-4 and NY59-19. Loaned materials were returned to the lender and are now held by the Library of Congress, Manuscript Division. This material is not described in the collection container inventory or finding aid.
Provenance:
William Zorach lent papers for microfilming to the Archives of American Art in 1959. Tessim Zorach donated materials between 1976-1987.
Restrictions:
Use of originals 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 -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Weavers  Search this
Topic:
Art -- Collectors and collecting -- New York (State) -- New York  Search this
Artist couples  Search this
Artists' studios -- Photographs  Search this
Works of art  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Genre/Form:
Interviews
Prints
Articles
Sketchbooks
Photographs
Drawings
Scrapbooks
Notes
Writings
Citation:
The Zorach Family papers, 1900-1987. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.zorazora
See more items in:
The Zorach family papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99b759247-30c2-4d06-9c75-1c7b0054f5d5
EDAN-URL:
ead_collection:sova-aaa-zorazora

Lily Emmet Cushing papers

Creator:
Cushing, Lily Emmet, 1909-1969  Search this
Names:
Maynard Walker Gallery  Search this
Zhonghua fu nü fan gong kang E lian he hui  Search this
Bernstein, Henri  Search this
Chiang, May-ling Soong, 1897-2003  Search this
Frankfurter, Alfred M.  Search this
Graham, Katharine, 1917-  Search this
Kefauver, Nancy, 1912-1967  Search this
Kuhn, Walt, 1877-1949  Search this
Onassis, Jacqueline Kennedy, 1929-1994  Search this
Extent:
4 Linear feet
Type:
Collection descriptions
Archival materials
Postcards
Notebooks
Photographs
Typescripts
Paintings
Date:
1929-1972
Summary:
The papers of painter Lily Emmet Cushing date from 1929 to 1972 and measure 4.0 linear feet. Found within the papers are biographical material; letters from friends including Henri Bernstein, Alfred M. Frankfurter, Katharine Graham, Nancy Kefauver, and Walt Kuhn; personal business records including financial material concerning the Maynard Walker Gallery; notes and writings; art work; printed material; and photographs.
Scope and Content Note:
The papers of painter Lily Emmet Cushing date from 1929 to 1972 and measure 4.0 linear feet. Found within the papers are biographical material; letters from friends including Henri Bernstein, Alfred M. Frankfurter, Katharine Graham, Nancy Kefauver, and Walt Kuhn; personal business records including financial material concerning the Maynard Walker Gallery; notes and writings; art work; printed material; and photographs.

Biographical material consists primarily of address books and lists of addresses, but also includes miscellaneous resumés and a certificate of participation in the Art in the Embassies program. signed by Nancy Kefauver.

Scattered letters received by Cushing are primarily from friends including Henri Bernstein, Alfred M. Frankfurter, Katharine Graham, Nancy Kefauver, and Walt Kuhn. There are also letters concerning the Chinese Women's Anti-Aggression League that benefited the charitable and social welfare organizations of the Chinese Navy.

Personal business records include lists of art work and purchasers, price lists, financial and legal documents, and various receipts, including some for art supplies. Papers concerning the Maynard Walker Gallery include letters discussing sales, invoices, and a ledger listing sales of art work by various artists including Lily Cushing Emmet.

Notes and Writings consist of notebooks containing annotations on miscellaneous topics including household items, painting, plants, and recipes. Miscellaneous notes concern art work, fabric, and furnishings. Typescripts by others concern the genealogy of the Clark family.

Art work consists of a schematic drawing, small oil paintings on masonite, and a commercial printing block of a design by Walt Kuhn.

Printed material consists of clippings, exhibition announcements and catalogs, programs, miscellaneous brochures, picture postcards of scenes in the United States, Europe, and Mexico and of Native Americans.

Photographs are of Cushing, her daughters, her third husband Capt. Alston Boyd, friends and colleagues including Mme. Chiang Kai-Shek, various houses, travel scenes, miscellaneous plants, and of art work. There is also a photograph of Jacqueline Kennedy Onassis.
Arrangement:
The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Material, 1953-1967 (Box 1; 14 folders)

Series 2: Letters, 1929-1972 (Box 1-2, OV 7; 1.4 linear feet)

Series 3: Personal Business Records, 1934-1969 (Box 2-3, 6; 0.8 linear feet)

Series 4: Notes and Writings, 1955-1969 (Box 3; 23 folders)

Series 5: Art Work, circa 1940 (Box 3, 6; 3 folders)

Series 6: Printed Material, 1930-1968 (Box 3, 6; 30 folders)

Series 7: Photographs, 1940-1968 (Box 3-6; 0.8 linear feet)
Biographical Note:
Lily Cushing (1909-1969) of New York City was primarily known as a painter of landscapes and still lifes of flowers.

Lily Cushing was born on January 13, 1909 in New York City, the third child of Ethel Cochrane and artist Howard Gardiner Cushing. She studied painting in the studio of Alexandre Jacovleff in Paris from 1926-1927, and with Walt Kuhn in New York City in 1929. Cushing's first solo exhibition was at the Arden Gallery in New York in 1930.

In 1929, Cushing married George Crawford Clark Jr. in Newport, Rhode Island. Following her divorce from Clark, she married William Temple Emmet, Jr. in 1932. They had two daughters, Alexandra and Lily. Cushing's second marriage also ended in divorce. In 1953, she married naval officer Alston M. Boyd in New York.

Cushing's work is in the collections of the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, and in the private collections of Paul Mellon, John Hay Whitney, and Joseph P. Kennedy, among others.

Lily Cushing died on September 21, 1969, in Fishers Island, New York.
Separated Material:
An unrecorded number of exhibition catalogs were removed from the collection and given to the Smithsonian American Art Museum/National Portrait Gallery Art Library in 1977.
Provenance:
The Lily Emmet Cushing papers were donated in 1972 by the artist's daughters Alexandra Emmet Schlesinger and Lily Emmet West.
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:
Painters -- New York (State) -- New York  Search this
Topic:
Landscape painting  Search this
Women artists  Search this
Women painters  Search this
Genre/Form:
Postcards
Notebooks
Photographs
Typescripts
Paintings
Citation:
Lily Emmet Cushing papers, 1929-1972. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cushlily
See more items in:
Lily Emmet Cushing papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96c1d34f2-db7f-4657-8a5b-46b489f7c54e
EDAN-URL:
ead_collection:sova-aaa-cushlily

European terracottas from the Arthur M. Sackler collections : [exhibition], March 1-September 6, 1981 / text by James David Draper

Author:
Draper, James David  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Physical description:
31 p. illus., 23 cm
Type:
Exhibitions
Place:
New York (State)
Date:
1981
C1981
Topic:
Terra-cotta sculpture, European  Search this
Terra-cotta sculpture--Private collections  Search this
Call number:
NB1265 .D7X
NB1265.D7X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_140146

Abstract expressionism and other modern works : the Muriel Kallis Steinberg Newman collection in the Metropolitan Museum of Art / edited by Gary Tinterow, Lisa Mintz Messinger, and Nan Rosenthal

Author:
Tinterow, Gary  Search this
Messinger, Lisa Mintz  Search this
Rosenthal, Nan  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Subject:
Newman, Muriel Kallis Steinberg Art collections  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Physical description:
x, 214 p. : ill. (some col.) ; 32 cm
Type:
Exhibitions
Place:
United States
New York (State)
New York
Date:
2007
C2007
20th century
Topic:
Abstract expressionism  Search this
Art, American  Search this
Art, European  Search this
Art--Private collections  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_836479

Style and the city New York city fashion art : two decades of advertising drawings : 1955-1975 by Frederic A. Sharf with Morton Kaish and Alexandra B. Huff

Title:
New York city fashion art
Author:
Sharf, Frederic A. 1934-  Search this
Author:
Kaish, Morton 1927-  Search this
Huff, Alexandra B  Search this
Subject:
Sharf, Jean S Art collections  Search this
Museum of Fine Arts, Boston  Search this
Physical description:
72 pages illustrations (some color) 28 cm
Type:
Exhibitions
Expositions
Exhibition catalogs
History
Place:
New York (State)
New York
Massachusetts
Boston
New York (État)
Date:
2010
20th century
20e siècle
Topic:
Commercial art--History  Search this
Fashion drawing  Search this
Commercial art  Search this
Art publicitaire--Histoire  Search this
Dessin de mode  Search this
Art publicitaire  Search this
Art--Private collections  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1158693

New York Monument, (sculpture)

Title:
New York State Memorial, (sculpture)
Sculptor:
Perry, Roland Hinton 1870-1941  Search this
Gudebrod, Louis A. b. 1872  Search this
Founder:
Roman Bronze Works  Search this
Contractor:
North Carolina Granite Corporation  Search this
Medium:
Sculpture: bronze; Base: North Carolina granite
Type:
Sculptures-Outdoor Sculpture
Sculptures
Owner/Location:
Administered by United States Department of the Interior National Park Service Washington District of Columbia
Located Andersonville National Historic Site 496 Cemetery Road Andersonville Georgia 31711
Date:
Commissioned 1905. Installed 1911. Dedicated April 29, 1914
Topic:
History--United States--Civil War  Search this
Figure group  Search this
Religion--Angel  Search this
State of Being--Other--Imprisonment  Search this
Emblem--Seal  Search this
Object--Other--Wreath  Search this
Object--Foliage--Laurel  Search this
Control number:
IAS 76007431
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_18227

Pierpont Morgan Library records

Creator:
Pierpont Morgan Library  Search this
Names:
Chase, William Merritt, 1849-1916  Search this
Nast, Thomas, 1840-1902  Search this
Extent:
300 Items ((on 1 microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1682-1953
Scope and Contents:
Letters and documents relating to American Art from the 17th to the 20th centuries; a sketchbook of William Merritt Chase; and autographed notes and sketches of Robert Fulton and Thomas Nast. Artists and individuals represented in the collection include: Antonio Canova, John Singleton Copley, Charles Dana Gibson, Winslow Homer, John La Farge, Isabella Stewart Gardner, Rembrandt Peale, Hiram Powers, John Singer Sargent, Elihu Vedder, John Sartain, and others.
Biographical / Historical:
Private art library collection; New York City, New York. Founded in 1924 when business tycoon, J.P. Morgan opened his home and private collection to the public.
Provenance:
Lent for microfilming 1968 by the Pierpont Morgan Library.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Art -- Private collections -- New York (State) -- New York  Search this
Function:
Art libraries -- New York (State) -- New York
Identifier:
AAA.piermorg
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e0f41bec-1e46-44ef-a075-236988ec15d9
EDAN-URL:
ead_collection:sova-aaa-piermorg

William Baziotes sketchbooks (microfilm)

Creator:
Baziotes, William, 1912-1963  Search this
Extent:
1 Microfilm reel (2 volumes on partial microfilm reel1)
Type:
Collection descriptions
Archival materials
Microfilm reels
Scrapbooks
Date:
1933
Scope and Contents:
The microfilmed William Baziotes sketchbooks consist of two hard-cover sketchbooks dating from circa 1933. One (auction no. 90.5) contains 42 single-sided drawings and 26 double-sided drawings, in both pencil and pen and ink. The second (no. 115.5) contains 71 single-sided drawings and 26 double-sided drawings, all in pencil except for one charcoal drawing on frontispiece. The sketches are primarily of people; some animals and landscapes are also included. Landscapes may be of Baziotes' hometown area of Reading, Pennsylvania, where he often returned in the summer.
Biographical / Historical:
William Baziotes (1912-1963) was an abstract expressionist painter in New York, New York. Born in Pittsburgh, Pennsylvania, Baziotes moved to New York City in 1933, where he studied painting at the National Academy of Design. He participated on the Works Progress Administration's Federal Art Project as a teacher from 1936 to 1938, and painted for the Easel Painting Project from 1938 to 1940.

He had his first one-man show at Peggy Guggenheim's Art of This Century Gallery in 1944. The Samuel M. Kootz Gallery, Inc. held a solo show for Baziotes in 1946 and continued to exhibit his works until 1958.

Baziotes taught at Subjects of the Artist (1948); the Brooklyn Museum Art School and New York University (1949-1952); the People's Art Center at the Museum of Modern Art (1950-1952); and Hunter College (1952-1962).
Related Materials:
The Archives of American Art holds the William and Ethel Baziotes papers, circa 1900-1992; microfilmed Robert Motherwell postcard to William Baziotes, 1944; and William Baziotes (1912-1963): the formation of a subjectively based imagery / by Melinda Anne Lorenz, undated.
Provenance:
Lent for microfilming 1998 by John Castagno, a dealer who purchased the sketchbooks at auction. The auctioneer's label (Pennypacker-Andrews Auction Centre, N.Y.) affixed to each cover identifies the sketchbooks: "From the Private Collection of Constance and the Late Harry Baziotes, Purchased on September 25, 1995. Each page is stamped "Wm A. Baziotes Estate"
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Painters -- New York (State) -- New York  Search this
Topic:
Abstract expressionist  Search this
Genre/Form:
Scrapbooks
Identifier:
AAA.baziwills
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9403fe448-af1e-4cb2-8543-8f79dc3a66b8
EDAN-URL:
ead_collection:sova-aaa-baziwills

Albert Gallatin papers

Creator:
Gallatin, Albert, 1880-1965  Search this
Names:
Bothmer, Bernard V., 1912-  Search this
Fischer, Henry George  Search this
Extent:
31 Items
Type:
Collection descriptions
Archival materials
Date:
1950-1964
Scope and Contents:
Letters from curators and dealers of antiquities, including Bernard V. Bothmer, and Henry George Fischer; and fourteen object cards for works in Gallatin's collection. Several of the letters received from Bothmer respond to an interest Gallatin expresses in an Egyptian statuette of King Piankhi (made ca. dynasty XXV) that has been made available to Gallatin for purchase. Bothmer conveys his findings on its provenance, and, via a photograph sent, makes a detailed analysis of the iconography of the statuette. Also included but not microfilmed is a copy of Gallatin's book, "The Pursuit of Happiness" (1950).
Biographical / Historical:
Albert Gallatin (1880-1965) was an archeologist, author of the book, "The Pusuit of Happiness," collector of ancient and eastern art and contemporary sculptor Carl Paul Jennewein, who lived in New York, N.Y.
Provenance:
Donated 1972 by Alice Gallatin Gault, a relative of Albert Gallatin.
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.
Occupation:
Museum curators  Search this
Art dealers -- New York (State) -- New York  Search this
Topic:
Small sculpture, Ancient -- Collectors and collecting -- New York (State) -- New York  Search this
Art -- Private collections -- New York (State) -- New York  Search this
Art, Egyptian -- Collectors and collecting  Search this
Art -- Collectors and collecting  Search this
Identifier:
AAA.gallalbe
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97e7193c1-d1f8-4963-83fc-98145099726e
EDAN-URL:
ead_collection:sova-aaa-gallalbe

James Cohan Gallery records relating to Robert Smithson

Creator:
James Cohan Gallery  Search this
Names:
Alloway, Lawrence, 1926-1990  Search this
Holt, Nancy, 1938-2014  Search this
Smithson, Robert  Search this
Extent:
5 Linear feet
21.8 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Date:
bulk 1998-2014
circa 1960s-2016
Summary:
The James Cohan Gallery records relating to Robert Smithson measure 5.0 linear feet and 21.8 Gigabytes, and date from circa 1960s-2018, bulk 1998-2014. The records consist of the correspondence, loans and consignment records, exhibition files, artwork and project documentation, inventories, writings, press files, and the photographic material related to artworks created by artist Robert Smithson.
Scope and Contents:
The James Cohan Gallery records relating to Robert Smithson measure 5.0 linear feet and 21.8 Gigabytes, and date from circa 1960s-2018, bulk 1998-2014. The correspondence series is primarily with institutions or collectors and includes publication requests and prospective book projects. The loans and consignments series includes documents arranging terms for prospective sale or loan for exhibition with a variety of international private collections and institutions including galleries and museums. The exhibition files include documentation related to the organizing of exhibitions including those held at James Cohan Gallery, as well as large retrospective exhibitions that received the gallery's planning support. The artwork and project files include documentation of both recreated and historic works by Smithson, and features photographs and video documentation, certificates of authenticity, condition reports, and conservation records.

The inventories series includes a range of lists related to Smithson's Estate including storage inventories, Smithson's library inventory compiled shortly after his death, checklists, and lists of works for sale, among others. The writings series includes both copies of original writing by Smithson including work descriptions and certificates of authenticity, as well as articles and presentations by others, including Nancy Holt, and a symposium held at Whitney Museum of American Art in 2005. Also included are copies of notes by Lawrence Alloway on Smithson. The press files series contains both original clippings and copies of published articles on Smithson maintained since 1968, and presumably was transferred from John Weber Gallery and then maintained. The photographic material series includes copies of slides and photographs of both Smithson and his artworks and projects.
Arrangement:
The collection is arranged in 8 series:

Series 1: Correspondence, circa 1983-2016 (0.2 Linear feet, Box 1)

Series 2: Loans and Consignments (1.1 Linear feet: Boxes 1-2; 2.1 Gigabytes: ER001)

Series 3: Exhibition Files, circa 1997-2003 (0.7 Linear feet: Box 2; 3 Gigabytes: ER03-ER04)

Series 4: Artwork and Project Documentation, circa 1969-2016 (5.11 Gigabytes: ER005-ER014, ER024-ER026; 0.5 Linear feet: Box 3)

Series 5: Inventories, circa 1970-2015 (0.6 Linear feet: Boxes 3-4)

Series 6: Writings (10.6 Gigabytes: ER015-ER016; 0.1 Linear feet: Box 4)

Series 7: Press Files, circa 1968-2014 (1.3 Linear feet: Boxes 4-5)

Series 8: Photographic Material, circa 1960-2015 (0.5 Linear feet: Box 5; 2.01 Gigabytes: ER017-ER023)
Biographical / Historical:
The James Cohan Gallery (1999- ) is an art gallery in Manhattan, New York. The gallery represents the estate of Robert Smithson. Robert Smithson (1938-1973) was a pioneer of land and earthworks art. He was also a noted sculptor, painter, writer, and lecturer working primarily in New York City.
Related Materials:
The Archives of American Art also holds the Robert Smithson and Nancy Holt papers and the Nancy Holt estate records.
Provenance:
The collection was donated in 2021 by James Cohan.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References 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:
Earthworks (Art)  Search this
Function:
Art galleries, Commercial -- New York (State)
Citation:
James Cohan Gallery records relating to Robert Smithson, circa 1960s-2018, bulk 1998-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.jamecoha
See more items in:
James Cohan Gallery records relating to Robert Smithson
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92d55c743-0e18-4a88-ab77-b48c28e4fcc3
EDAN-URL:
ead_collection:sova-aaa-jamecoha

Florence Nightingale Levy papers

Topic:
American art annual
Creator:
Levy, Florence N. (Florence Nightingale), 1870-1947  Search this
Extent:
6.6 Linear feet ((partially microfilmed on 5 reels))
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1890-1947
Scope and Contents:
Letters, scrapbooks, subject files, and printed material, much of it related to her work as editor of American Art Annual and her guidebooks to art in New York.
REELS D43-D46: Scrapbooks, 1890-1920's, containing newspaper clippings and articles reflecting a wide variety of interests in the art world files of obituary notices collected for the American Art Annual; and subject files containing clippings, letters, pamphlets and handbooks on collectors and private collections, art work in and around New York, mural and fresco work in New York public buildings, and art in New York churches.
REEL N12: Correspondence, 1890-1947; minutes of American Art Annual, 1903-1914; writings on art education and other topics in the form of lectures, radio scripts, book reviews, and articles; clippings; and miscellany.
UNMICROFILMED Ca. 7000 file cards of biographical material used in compiling American Art Annual.
Biographical / Historical:
Editor and art historian; New York City. Founder and art editor of American Art Annual, 1898-1917. On staff of Metropolitian Museum of Art, 1908-1917. Director, Baltimore Museum of Art, 1922-1926. Author of Art in New York; a Guide to Things Worth Seeing (1916, 1922, and 1939).
Related Materials:
Florence Nightingale Levy papers, 1870-1947, are located at The New York Public Library Archives & Manuscripts.
Provenance:
Material on reels D43-D46 and unmicrofilmed material donated by the library of the Metropolitian Museum of Art, 1956-1961. Material on reel N12 was microfilmed in 1956 by the Archives of American Art with other art-related papers in the Manuscript Division of the New York Public Library.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Art historians -- New York (State) -- New York  Search this
Editors -- New York (State) -- New York  Search this
Topic:
Artists -- United States -- Directories  Search this
Art -- Periodicals  Search this
Art -- New York (State) -- New York  Search this
Mural painting and decoration -- New York (State) -- New York  Search this
Church decoration and ornament -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Identifier:
AAA.levyflor
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f45068fb-040e-4bdd-b1b1-fb9ea7b6427b
EDAN-URL:
ead_collection:sova-aaa-levyflor

Henry and Rose Pearlman papers

Creator:
Pearlman, Henry, b. 1895  Search this
Names:
The Henry and Rose Pearlman Foundation  Search this
Cézanne, Paul, 1839-1906  Search this
Degas, Edgar, 1834-1917  Search this
Gogh, Vincent van, 1853-1890  Search this
Kokoschka, Oskar, 1886-  Search this
Lipchitz, Jacques, 1891-1973  Search this
Modigliani, Amedeo, 1884-1920  Search this
Pearlman, Rose, b. 1901  Search this
Soutine, Chaim, 1893-1943  Search this
Extent:
4.38 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1893-1995
bulk 1950-1980
Summary:
The records of the Henry and Rose Pearlman papers measure 4.38 linear feet and date from 1893 to 1995 (bulk 1950-1980). The collection documents the activities of Post-Impressionist and Modern art collectors Henry and Rose Pearlman through correspondence, research materials, exhibition catalogs, photographs, and clippings.
Scope and Content Note:
The Henry and Rose Pearlman papers measure 4.38 linear feet and document the activities of art collectors Henry and Rose Pearlman through correspondence, research materials, exhibition catalogs, photographs of artwork and exhibitions, and clippings ranging from 1909 to 1995 (bulk 1950-1980). Most of the materials relate to artists and pieces represented in the Pearlmans' collection, although a small amount of material concerns works considered or researched by Pearlman, but not purchased.

The bulk of the collection concerns the lending, reproduction, and exhibition of works of art owned by the Pearlmans and their foundation. Supplemental research material such as exhibition catalogs, photographs of artworks, and articles and clippings on artists, artworks or other private collections, make up most of the remainder. Oversized materials include a catalogue of the Pearlman Collection, a portfolio of reproductions of the Cezanne watercolors belonging to the Pearlmans, and photographs comparing Toulouse-Lautrec's Parody of the Bois Sacre aux Arts et Muses to the original.
Arrangement:
The collection has been arranged into four series. Glass plate negatives are housed separately and closed to researchers.

Missing Title

Series 1: General Collection Files, 1950-1995 (Box 1, 5; 8 folders)

Series 2: Artists' Files, 1909-1995 (Boxes 1-5, MGP 5; 3.2 linear feet)

Series 3: Museum Files, 1951-1994 (Box 4; 20 folders)

Series 4: Personal Files, 1966-1993 (Box 4; 5 folders)
Biographical Note:
Henry Pearlman (1895-1974), a lifelong resident of New York City, rose through the ranks of the business world to found his own company, Eastern Cold Storage, in 1919. In 1925, Henry married Rose. In the early 1940s, Pearlman purchased a few realist paintings, but it wasn't until his 1943 purchase of Chaim Soutine's Village Square that he was inspired to build what would become a noted collection of Post-Impressionist works. Over the next three decades, Pearlman acquired numerous works by such well-known artists as Soutine, Modigliani, Cezanne, Van Gogh, Renoir, Manet, Matisse, and Toulouse-Lautrec, in addition to those of lesser-known artists. In the early 1950s, Pearlman began collecting Cezanne watercolors. These paintings would become the cornerstone of his collection and would be exhibited around the world. Pearlman died in 1974, leaving his wife, Rose, to manage his collection until her death in 1994. From the mid-1970s, the Pearlman Collection has been on long-term loan to the Art Museum of Princeton.

The Pearlmans founded the Henry and Rose Pearlman Foundation in the 1950s. Much of the Pearlmans' artwork is now officially owned by the Foundation.
Provenance:
The Henry and Rose Pearlman papers were donated to the Archives of American Art in 2004 by Dorothy Edelman and Marge Scheuer, daughters of Henry and Rose Pearlman, care of the Henry and Rose Pearlman Foundation.
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 -- Collectors and collecting -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Henry and Rose Pearlman papers, 1893-1995, bulk 1950-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.pearhenr
See more items in:
Henry and Rose Pearlman papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw923a585c7-1b33-4060-b25b-480e94ce998c
EDAN-URL:
ead_collection:sova-aaa-pearhenr
Online Media:

Ralph Fabri papers

Creator:
Fabri, Ralph, 1894-1975  Search this
Names:
American Watercolor Society  Search this
Artists for Victory, Inc.  Search this
Society of American Etchers  Search this
Today's art  Search this
Extent:
26 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Christmas cards
Scrapbooks
Video recordings
Drawings
Diaries
Watercolors
Sketches
Sketchbooks
Illustrated letters
Date:
circa 1870s-1975
bulk 1918-1975
Summary:
The Ralph Fabri papers measure 26.0 linear feet and are dated circa 1870s-1975, with the bulk of the material dated 1918-1975. Biographical information, correspondence, subject files, writings, art work, financial records, miscellaneous records, scrapbooks, printed material, a videotape of Fabri in his studio, and photographs document the professional career and personal life of the painter, printmaker, commercial artist, writer, and teacher.
Scope and Content Note:
The Ralph Fabri papers measure 26.0 linear feet and are dated circa 1870s-1975, with the bulk of the material dated 1918-1975. Biographical information, correspondence, subject files, writings, art work, financial records, miscellaneous records, scrapbooks, printed material, and photographs document the professional career and personal life of the painter, printmaker, commercial artist, writer, and teacher.

Biographical information includes awards and certificates, educational records, passports and travel documents.

Almost one-half of the collection consists of Fabri's correspondence. There is correspondence with friends and relatives, as well as professional correspondence. Much of the early correspondence with friends and family is written in Hungarian and also include small watercolors by Fabri that he used as postcards to send messages to family members. A number of later letters are illustrated with drawings by Fabri and other artists. Extensive correspondence - often daily missives - records romantic liaisons with Mabel Farrar, Mina Kocherthaler, Elly von Marczell, and Mavis Elizabeth Peat, as well as the travels and careers of Hungarian opera singer Maria Samson and composer and impresario Laszlo Schawrtz. In addition, there are large numbers of Christmas cards, many with original artwork, from artist friends and former students. Professional correspondence concerns teaching, writing and publishing, commercial work, exhibitions and sales.

Subject files relate mainly to organizations and institutions in which Fabri was active, and include his correspondence and some official records (minutes, reports, financial records), and printed material. Among the organizations and institutions are: Allied Artists of America, Inc., Artists for Victory, Inc., Audubon Artists of America, Inc., National Academy of Design, and Society of American Etchers. Other subject files concern the schools where Fabri taught and publications with which he was associated.

Among the writings by Fabri are drafts and completed manuscripts of articles, books (including two unpublished titles), music and lyrics, and a few poems. Diaries (75 vols.) covering the period 1918-1975, contain almost daily entries that record in varying degrees of detail his professional and personal activities, special and mundane events, and opinions. Prior to 1939, the diaries are in Hungarian or partially in Hungarian. Heavily illustrated notes from his studies at the Royal Academy of Fine Arts survive, along with other miscellaneous notes and 7 notebooks containing lists of concerts, operas, and plays attended by Fabri between 1912 and 1974.

Writings by other authors include the manuscript of Pastel Painting published by Stephen Csoka, said to have been written by Fabri.

Art work by Fabri includes student work, early commercial work, drawings and sketches, a few early watercolor paintings, and two sketchbooks. Work by other artists consists of a watercolor by his uncle Miklos Fabri, a pencil drawing by Laszlo Schwartz, a gouache painting by Paul Mommer, and an ink drawing by Marantz.

Financial records mainly concern banking transactions and taxes. In addition there are receipts for personal and business expenses and packages sent to family in Hungary.

Included among the miscellaneous records and artifacts are art sales and donations, six medals awarded to Fabri, and guest books. A videotape (SONY Helical Scan recording) of Fabri in his studio, made by Jerome Bona and Rick Brown that aired on NYC public access television station Channel C in 1973, is also included.

Scrapbooks (10 vols.) contain reproductions of Fabri's early commercial work, clippings, printed material, and a few photographs documenting his career.

Printed material by Fabri includes articles, books, commercial designs, reproductions, and works translated by Fabri for publication in Hungarian. Also included are issues of Today's Art containing signed and unsigned articles and editorials by Fabri, and some pieces he wrote using pseudonyms. Exhibition related items include catalogs, announcements, and invitations for Fabri's group and solo exhibitions and exhibitions of other artists. Also included are posters, and prospectuses.

Photographs are of art work, people, places, and miscellaneous subjects. People pictured are Ralph Fabri, his family (including a few ancestors), friends, and unidentified individuals and groups. Places documented include exterior views of Pension Villa-Fabri in Hungary (the family's restaurant and hotel), as well as photographs of foreign lands visited by Fabri or sent to him by friends. An item of note filed with miscellaneous subjects is a parade float titled "Give a Thought to Music," designed and constructed by Fabri. Included in ten photograph albums are views of paintings and commercial work by Fabri, various friends, his studio, the Dreiser estate in Mt. Kisco, N.Y., and group portraits of City College of New York faculty.
Arrangement:
The collection is arranged into 10 series::

Missing Title

Series 1: Biographical Information, 1919-1973, undated (Box 1, OV 31; 0.2 linear ft.)

Series 2: Correspondence, 1904-1975, undated (Boxes 1-12; 11.0 linear ft.)

Series 3: Subject Files, 1941-1975, undated (Boxes 12-14, 25; 2.1 linear ft.)

Series 4: Writings, 1911-1975, undated (Boxes 14-17; 3.8 linear ft.)

Series 5: Art Work, circa 1903-1970s, undated (Boxes 17, 26; 0.4 linear ft.)

Series 6: Financial Records, 1923-1973, undated (Box 18; 0.6 linear ft.)

Series 7: Miscellaneous Records and Artifacts, 1931-1975, undated (Box 18; 0.4 linear ft.)

Series 8: Scrapbooks, 1911-1971 (Boxes 27-30; 1.3 linear ft.)

Series 9: Printed Material, 1910s-1973, undated (Boxes 19-23, OV 32; 4.8 linear ft.)

Series 10: Photographs, circa 1870s-1973, undated (Boxes 23-25; 1.4 linear ft.)
Biographical Note:
Painter and printmaker, commercial artist, writer, and teacher Ralph Fabri was born Fabri Reszo in Hungary in 1894. He was educated in Budapest, first studying architecture at the Royal Institute of Technology from 1912 to 1914. He then enrolled in the Royal Academy of Fine Arts, from which he graduated in 1918 with a Professor's Diploma (M.A.) "for teaching drawing, painting and geometry - including descriptive and projective geometry - in schools of higher education."

Fabri arrived in New York City in 1921 and soon adopted the anglicized version of his name, Ralph Fabri. He began doing commercial design work and during the academic year of 1923/24 was enrolled as an evening student at the National Academy of Design. After becoming an American citizen in 1927, he traveled extensively in Europe. Upon returning to New York that same year, Fabri decided his financial situation was stable enough to allow him to focus his attention on fine art.

During the Great Depression, Fabri's already inadequate portrait commissions and art sales further declined and he returned to commercial work. He established a workshop known as the Ralph Fabri Studios, that designed theatrical and movie sets, window displays, and retail interiors. But Fabri found the workshop dirty and distasteful, and eventually was able to concentrate on advertising work which could be done from home. The largest clients for his pen and ink drawings were The Stamp and Album Co. of America, Inc. (for which he designed covers for stamp albums and produced illustrations for envelopes housing sets of stamps sold to collectors), Geographica Map Co., and Joseph H. Cohen & Sons (for whom he designed and illustrated mail order catalogs). Another source of income during this period was the design and construction of an addition to "Iroki," Theodore Dreiser's estate in Mt. Kisco, N.Y., for which Fabri acted as architect and contractor.

Soon after arriving in the United States, Fabri began writing art reviews and articles on art and other topics for publication in Hungarian newspapers, and began submitting similar pieces to American newspapers and periodicals. Between 1949 and 1951 Pictures on Exhibit published a series of twenty articles by Fabri on materials and techniques, and from 1952 through 1961 he was a critic for that publication. Fabri contributed many articles on a variety of topics to Today's Art, starting in 1953, the year the magazine was established. In 1961, Fabri became associate editor of that monthly periodical and was named its editor in 1970, a position he held for the remainder of his life. During his tenure, every issue of Today's Art included signed and unsigned articles and editorials by Fabri, as well as some pieces written under pseudonyms. He also worked as a book reviewer for American Artist and art editor of Funk & Wagnall's New Encyclopedia.

Fabri may be best known for his books in the how-to-do-it vein, some of which were distributed through art supply stores. Among his many books are: Learn to Draw (1945), Oil Painting: How-to-Do-It! (1953), A Guide to Polymer Painting (1966), Sculpture in Paper (1966), Color: A Complete Guide for Artists (1967), Complete Guide to Flower Painting (1968), The First Hundred Years: History of the American Watercolor Society (1969), Painting Outdoors (1969), Painting Cityscapes (1970), and Artist's Guide to Composition (1971).

For nearly three decades, Fabri taught art in New York City. He was an instructor in the life and still life classes at the Parson's School of Design from 1947 through 1949. In 1951, Fabri was appointed associate professor at City College of New York, where he taught painting and art history until retiring in 1967. In addition, he was on the faculty of School of the National Academy of Design, teaching painting, drawing, and graphics from 1964 until his death.

Fabri was an active member of many artists' organizations. He was president of the National Society of Painters in Casein, Inc., an organization founded by Fabri in 1953 (it later became the National Society of Painters in Casein and Acrylic, Inc.); he also served as president of the Audubon Artists and the Allied Artists of America, Inc. As historian of The American Watercolor Society, Fabri wrote a book length history of that organization published on the occasion of its centennial. He was the secretary and treasurer of the National Academy of Design, as well as serving on many of its committees.

Paintings and prints by Ralph Fabri have been exhibited widely in solo and group exhibitions throughout the United States and, to a lesser extent, in Europe. A frequent lecturer, his painting demonstrations were quite popular. Fabri received numerous honors and awards, and his work is included in the permanent collections of the Metropolitan Museum of Art, the Library of Congress, the New York Public Library, the National Academy of Design, the Norfolk Museum of Art and Science, Smithsonian Institution, the Museum of Fine Arts, the National Gallery in Budapest, and many other public and private collections.

Ralph Fabri died in New York City in February 1975.
Related Material:
Ralph Fabri donated his correspondence with Theodore and Helen Dreiser, 1929-1955, to the University of Pennsylvania, where it is now part of the Theodore Dreiser papers.
Provenance:
The Ralph Fabri papers were donated by Ralph Fabri, 1971-1974. Additional papers were the gift of his estate, 1975-1976.
Restrictions:
The collection is open for research. Use 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 critics -- New York (State) -- New York  Search this
Topic:
Painters -- New York (State) -- New York  Search this
Art -- Study and teaching -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Educators -- New York (State) -- New York  Search this
Art criticism -- New York (State) -- New York  Search this
Painting, American -- New York (State) -- New York  Search this
Function:
Arts organizations -- New York (State)
Genre/Form:
Photographs
Christmas cards
Scrapbooks
Video recordings
Drawings
Diaries
Watercolors
Sketches
Sketchbooks
Illustrated letters -- Local
Citation:
Ralph Fabri papers, circa 1870s-1975, bulk 1918-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.fabrralp
See more items in:
Ralph Fabri papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9564a098b-2173-4db5-8205-05059cd4e37f
EDAN-URL:
ead_collection:sova-aaa-fabrralp

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