220 Linear feet (The total extent of the collection is 191.41 linear feet (consisting of 473 document boxes and 2 record boxes) plus 254 sound recordings, 94 computer disks, 42 card file boxes, 85 oversize folders, 9 rolled items, 18 binder boxes, and 3 oversize boxes. Of the total extent, 4.79 linear feet (14 boxes) are restricted.)
This collection contains the professional papers of William Curtis Sturtevant and documents his activities as Curator of North American Ethnology at the National Museum of Natural History, his work as the editor-in-chief of the Handbook of North American Indians, his research among the Seminole and Iroquois people, and other professional activities. The collection is comprised of books, sound recordings, research and field notes, realia, artifacts, clippings, microfilm, negatives, slides, photographs, manuscripts, correspondence, memorandums, card files, exhibition catalogs, articles, and bibliographies.
Scope and Contents:
This collection contains the professional papers of William Curtis Sturtevant and documents his activities as Curator of North American Ethnology at the Smithsonian Institution's National Museum of Natural History, his work as the editor-in-chief of the Handbook of North American Indians, his research among the Seminole and Iroquois people, and his involvement in various professional activities. The collection is comprised of research and field notes, sound recordings, realia, clippings, negatives, slides, prints, published and unpublished writings, correspondence, memorandums, conference papers and meeting notes, card files, exhibition catalogs, articles, bibliographies, student files such as class notes and papers from Sturtevant's years as an anthropology student, teaching materials including lecture notes and exams, daily planners, passports, military records, artwork including prints and lithographs, maps, and computer files.
The materials in this collection document Sturtevant's career as a preeminent North American ethnologist, museum curator, university professor, his role as General Editor of the Handbook of North American Indians, and his contributions to the field of Anthropology. From his early work with the Seminole Indians of Florida to his forays into Burma, and his decades-long study of how Native Americans have been depicted in artistic and popular culture, Sturtevant's diverse intellectual interests are represented in his research files. A copious note taker, Sturtevant captured his observations and opinions of everything from meetings with colleagues to museum exhibits. Sturtevant's commitment to the anthropological profession can be found in the notes and programs of the many conferences, symposiums, and lecture series he attended and at which he presented. He also held numerous leadership positions in various professional associations and sat on the board of directors/trustees for several cultural organizations including Survival International and the Museum of the American Indian-Heye Foundation. Sturtevant was respected for his vast knowledge of indigenous peoples and he received a voluminous amount of correspondence from colleagues who often included copies of their papers and grant proposals. He kept many of these works, which, it appears he used as reference material. Sturtevant's own work is reflected in his writings; he published over 200 scholarly papers, articles, and books.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
Arrangement:
This collection is organized in 14 series: 1. Correspondence, 1951-2008; 2. Research Files, 1851, 1860s, 1880s, 1890, 1939-2006; 3. Writings, 1952-2006; 4. Professional Activities, 1952-2006; 5. Smithsonian, 1954-2008; 6. Handbook of North American Indians, 1971-2007; 7. Biographical Files, 1933-2007; 8. Student Files, 1944-1985; 9. Subject Files, 1902-2002; 10. Photographs, 1927-2004; 11. Artwork, 1699-1998; 12. Maps, 1949-1975; 13. Sound Recordings, 1950-2000; 14. Computer Files, 1987-2006.
Biographical/Historical note:
William C. Sturtevant (1926-2007), preeminent North American ethnologist, museum curator, and university professor, was best known for his contributions to Seminole ethnology, as curator of North American Ethnology in the Department of Anthropology at the Smithsonian Institution's National Museum of Natural History, and for his work as the general editor of the Handbook of North American Indians.
Sturtevant's passion for studying Native peoples began at a young age. In third grade "after a class on American Indians, he asked his father what kind of people study Indians, and his father replied, 'Anthropologists.' Sturtevant decided then that he would make anthropology his career" (Merrill 11). After graduating with honors from the University of California at Berkeley in 1949, Sturtevant went on to Yale University to complete his graduate work in anthropology. When it came time to decide on what area of North America he should focus his research, one of his faculty members at Yale, Irving Rouse, "suggested he consider the Seminoles of south Florida. By the end of his first fieldwork season, Sturtevant was convinced that the dearth of ethnographic information about these Seminoles and their status as one of the least acculturated of all North American Indian societies justified ethnographic research among them and offered the possibility of making an important contribution to North American ethnology" (Merrill 13). Sturtevant spent the summers of 1950 and 1951 conducting preliminary fieldwork among the Mikasuki-speaking Seminole and in 1952 he took up temporary residence at Big Cypress Reservation to undertake research for his dissertation, "The Mikasuki Seminole: Medical Beliefs and Practices." This work focused on Seminole medicine, but also included Sturtevant's analysis of Seminole worldview, religion, history, inter-ethnic relations, material culture, economy, kinship, language, and social organization.
In 1954, while he was finishing his dissertation, Sturtevant made the transition from student of anthropology to professional anthropologist. He was hired as an instructor in Yale's Anthropology Department and began his career in museum work as an assistant curator of anthropology at the Yale Peabody Museum. After receiving his PhD from Yale in 1955, Sturtevant moved on to the Smithsonian Institution, where he accepted a position as a research anthropologist at the Bureau of American Ethnology (BAE). This position afforded Sturtevant the chance to continue to explore his many research interests in ways that a full time professorship or museum curatorship could not. Over the next ten years he studied the Catawba in South Carolina; the Seneca and Cayuga nations of the Iroquois League in New York, Oklahoma, and Ontario; continued his work with the Seminole; visited European museums to examine early ethnographic examples and possible European prototypes of eastern North American Indian material culture; and spent a year in Burma. In 1963, Sturtevant and his wife, Theda Maw, the daughter of a prominent Burmese family, took their three young children to Burma so that they could visit with Maw's family. Sturtevant took this as an opportunity to branch out from his Native American research and spent the year visiting neighborhoods in Rangoon and villages in the surrounding countryside, examining archival materials, studying the Burmese language, learning about Burmese clothing and other aspects of the culture, and taking photographs. He also collected 386 items of clothing and other objects for the Smithsonian.
When Sturtevant returned from Burma, he found the BAE had been dissolved. In 1965, he was transferred from the now-defunct BAE to the Department of Anthropology at the National Museum of Natural History (NMNH), where he became curator of North American Ethnology, a position he held for the next forty-two years. During his tenure at NMNH Sturtevant oversaw all the North American ethnology collections, planned exhibitions, served on committees, and sponsored interns and fellows. One of Sturtevant's primary duties at NMNH was serving as the General Editor of the Handbook of North American Indians, "a major multi-volume reference work summarizing anthropological, linguistic, and historical knowledge about native peoples north of Mexico" (Jackson). Each volume was designed to represent a geographic or topical area of Americanist study. As General Editor, Sturtevant selected volume editors, chapter authors, oversaw office staff, and proofread manuscripts over the course of production.
Besides focusing on the Handbook, much of Sturtevant's time was taken up by responsibilities he held outside the Institution. Sturtevant was extremely involved in professional anthropological associations and held many leadership positions. Fresh out of graduate school, he began a three-year term on the Board of Governors of the Anthropological Society of Washington in 1957. He later became a member of the executive committee of the Florida Anthropological Society, served as book-review editor and associate editor of the American Anthropologist from 1962-1968, was a member of the American Anthropological Association's Committee on Anthropological Research in Museums and was both vice president and president of the committee once it became the Council for Museum Anthropology, was on the American Anthropological Association's Committee on Archives, served three terms on the Board of Trustees of the Museum of the American Indian-Heye Foundation from 1976-1982 and was appointed to a fourth term between 1984 and 1986, and sat on the Board of Directors of Survival International from 1982-1988. He was President of the American Society for Ethnohistory, the American Ethnological Society, the American Anthropological Association, and the Anthropological Society of Washington. Sturtevant also taught classes at Johns Hopkins University as an adjunct professor in the Department of Anthropology, served as a consultant on exhibits at other museums, and reviewed manuscripts for scholarly publications.
Sturtevant remained active in the profession throughout his later years. After divorcing Theda Maw in 1986, he married Sally McLendon, a fellow anthropologist, in 1990 and they undertook several research projects together. Sturtevant was recognized for his dedication and contributions to the field of anthropology in 1996 when he was awarded an honorary doctorate in humane letters by Brown University, and in 2002 when his colleagues published a festschrift in his honor, Anthropology, History, and American Indians: Essays in Honor of William Curtis Sturtevant.
Sturtevant died on March 2, 2007 at the Collingswood Nursing and Rehabilitation Center in Rockville, MD after suffering from emphysema.
Sources Consulted
Estrada, Louie. 2007. William C. Sturtevant; Expert on Indians. Washington Post, March 17. http://www.washingtonpost.com/wp-dyn/content/article/2007/03/16/AR2007031602273.html, accessed August 31, 2012.
Jackson, Jason Baird. 2007. William C. Sturtevant (1926-2007). http://museumanthropology.blogspot.com/2007/03/william-c-sturtevant-1926-2007.html, accessed August 31, 2012.
Merrill, William L. 2002. William Curtis Sturtevant, Anthropologist. In Anthropology, History, and American Indians: Essays in Honor of William Curtis Sturtevant. William L. Merrill and Ives Goddard, eds. Pp. 11-36. Washington D.C.: Smithsonian Institution Press.
1926 -- Born July 26 in Morristown, NJ
1944 -- Entered the University of California at Berkeley as a second-semester freshman
1944 -- Attended summer school at the Universidad Nacional Autonoma de Mexico in Mexico City where he took courses on Mexican archaeology and South American ethnology
1945 -- Drafted into the United States Navy
1946 -- Received an honorable discharge from the Navy with the rank of pharmacist's mate third class and returned to UC Berkeley
1947 -- Attended the University of New Mexico's summer field school in Chaco Canyon, New Mexico
1949 -- January: Received his Bachelor's degree with honors in anthropology from UC Berkeley
1949 -- Began graduate studies at Yale University
1950-1951 -- Spent the summers of 1950 and 1951 in Florida conducting fieldwork among the Mikasuki-speaking Seminole
1951 -- Conducted his first research study of the Iroquois, a classification of Seneca musical instruments, their construction and use, with Harold Conklin
1952 -- May: Moved to Big Cypress Reservation in Florida to conduct research for his dissertation. He focused on Seminole medicine, but also collected physical anthropological data such as blood-type frequencies, handedness, and color blindness
1952 -- July 26: Married Theda Maw
1954 -- Hired by Yale University as an instructor in the Department of Anthropology and as an assistant curator of anthropology in the Yale Peabody Museum
1955 -- Received PhD in anthropology from Yale University
1956 -- Joined the staff of the Smithsonian Institution's Bureau of American Ethnology (BAE) as a research anthropologist
1957 -- Began a three-year term on the Board of Governors of the Anthropological Society of Washington
1957 -- Traveled to Rock Hill, South Carolina to collect linguistic data from Sam Blue, the last member of the Catawba tribe to have maintained some proficiency in the Catawba language. While there, he made a small collection of Catawba pottery for the United States National Museum
1957-1958 -- Spent seven weeks continuing his research among the New York Seneca
1959 -- Returned to Florida to study Seminole ethnobotany. He also collected ethnographic materials, especially objects made for the tourist market, which he deposited in the United States National Museum
1959-1960 -- Member of the executive committee of the Florida Anthropological Society
1960 -- July and August: Visited 17 European museums to examine early ethnographic examples and possible European prototypes of eastern North American Indian material culture
1961-1962 -- Spent the summers of these years conducting ethnographic fieldwork among the Seneca-Cayuga in Oklahoma
1962 -- October: Visited the Six Nations Reserve in Ontario, Canada to conduct fieldwork among the Seneca and Cayuga there
1962-1968 -- Book-review editor and associate editor of the American Anthropologist
1963 -- October: Spent the year in Burma; visited neighborhoods in Rangoon and villages in the surrounding countryside, examined photographs in several archives, studied the Burmese language, and read extensively about the country's history and culture. Assembled notes on Burmese clothing and other aspects of the culture, took hundreds of photographs, and made a collection of 386 items of clothing and other objects for the Smithsonian
1964 -- Visited Inle Lake in the Southern Shan States southeast of Mandalay, where he examined local approaches to artificial island agriculture
1964-1981 -- Became a member of the American Anthropological Association's Committee on Anthropological Research in Museums, which became the Council for Museum Anthropology in 1974. Sturtevant was the Council's first vice president, serving two terms between 1974 and 1978, and was its president from 1978 to 1981
1965 -- Became curator of North American Ethnology in the Department of Anthropology at the National Museum of Natural History after the dissolution of the BAE
1965-1966 -- President of the American Society for Ethnohistory
1966 -- Named the editor of the Handbook of North American Indians
1967-1968 -- Fulbright scholar and lecturer at Oxford University's Institute of Social Anthropology
1969 -- Began serving on the American Anthropological Association's Committee on Archives
1974-1989 -- Adjunct Professor in the Department of Anthropology at Johns Hopkins University
1976-1982 -- Served three terms on the Board of Trustees of the Museum of the American Indian-Heye Foundation and was appointed to a fourth term between 1984 and 1986
1977 -- President of the American Ethnological Society
1980-1981 -- President of the American Anthropological Association
1981 -- Spent part of the spring semester at the University of California Berkeley as a Regents Lecturer
1982-1988 -- Board of Directors of Survival International
1986 -- Divorced Theda Maw
1986-1987 -- Smithsonian Fellow at Oxford University's Worcester College
1990 -- Married Sally McLendon
1992 -- President of the Anthropological Society of Washington
1996 -- Awarded an honorary doctorate in humane letters at Brown University
2007 -- Died March 2 in Rockville, MD
Related Materials:
Other materials relating to William C. Sturtevant at the National Anthropological Archives are included in the following collections:
Manuscript 4504
Manuscript 4595
Manuscript 4806
Manuscript 4821
Manuscript 4972
Manuscript 7045
Photo Lot 59
Photo Lot 79-51
Photo Lot 80-3
Photo Lot 81R
Photo Lot 86-68 (6)
Photo Lot 86-68 (7)
American Society for Ethnohistory records
Committee on Anthropological Research in Museum Records
Handbook of North American Indians records
Records of the Department of Anthropology, National Museum of Natural History
Gordon Davis Gibson Papers, Sound Recordings
SPC Se Powhatan Confederacy Mattapony BAE No # 01790700
DOE Oceania:Amer Poly:Hi:Hawaiian Helmet:Sturtevant 04913800
DOE Oceania:Amer Poly:Hi:Hawaiian Helmet:Sturtevant 04913900
DOE Oceania:Amer Poly:Hi:Hawaiian Helmet:Sturtevant 04914000
Negative MNH 1530
Negative MNH 1530 B
Sturtevant is listed as a correspondent in the following NAA collections:
Administrative file, 1949-1965, Records of the Bureau of American Ethnology
John Lawrence Angel Papers
James Henri Howard Papers
Donald Jayne Lehmer Papers
John Victor Murra Papers
Records of the Society for American Archaeology
Albert Clanton Spaulding Papers
Waldo Rudolph Wedel and Mildred Mott Wedel Papers
Copies of sound recordings made by William C. Sturtevant can be found at The California Language Archive at UC Berkeley in two collections, The William Sturtevant collection of Creek/Seminole sound recordings, which includes 31 minutes of Northern Muskogean linguistic field recordings from 1951, and The William Sturtevant collection of Mikasuki sound recordings, which includes 33 minutes of Mikasuki linguistic field recordings from 1951. Two sound tape reels of Seminole music Sturtevant recorded in Florida in 1951 can be found at Wesleyan University's World Music Archives. Folk songs on these recordings include "Scalping Sickness," "Bear Sickness with blowing," "Bear sickness without blowing," "Lullaby," "Feather Dance," "Snake Dance," and "Crazy Dance." Performers include Josie Billie, Lee Cypress, Harvey Jumper, Boy Jim, Charlie (Johnny?) Cypress, Little Tiger Tail, Billy Ossiola, and Charlie Billy Boy.
Separated Materials:
One video tape, "Seminole History and Tradition", was transferred to the Human Studies Film Archives.
Series 2.2, Tukabahchee Plate: Glass negative of spectrogram from FBI (Box 135), removed for storage with other glass plate negatives.
Provenance:
These papers were transferred to the National Anthropological Archives by the Department of Anthropology at the National Museum of Natural History.
Restrictions:
Files containing Sturtevant's students' grades have been restricted, as have his students' and colleagues' grant and fellowships applications. Restricted files were separated and placed at the end of their respective series in boxes 87, 264, 322, 389-394, 435-436, 448, 468, and 483. For preservation reasons, his computer files are also restricted. Seminole sound recordings are restricted. Access to the William C. Sturtevant Papers requires an apointment.
William C. Sturtevant papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
The papers of William C. Sturtevant were processed with the assistance of a Wenner-Gren Foundation Historical Archives Program grant awarded to Dr. Ives Goddard. Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.
New Deal and the Arts Oral History Project Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Edward Biberman, 1964 April 15. Archives of American Art, Smithsonian Institution.
The Ankrum Gallery records measure 41.5 linear feet and date from circa 1900 to circa 1990s, with the bulk of the records dating from 1960 to 1990. The papers include over 395 artists files, general gallery correspondence, project files, administrative records, exhibition files, collector and client files, financial material, printed material, 1 unbound scrapbook, and photographs. Also included are personal papers of gallery founder Joan Ankrum and her nephew, artist Morris Broderson.
Scope and Contents:
The Ankrum Gallery records measure 41.5 linear feet and date from circa 1900 to circa 1990s, with the bulk of the records dating from 1960 to 1990. The papers include over 395 artists files, general gallery correspondence, project files, administrative records, exhibition files, collector and client files, financial material, printed material, 1 unbound scrapbook, and photographs. Also included are personal papers of gallery founder Joan Ankrum and her nephew, artist Morris Broderson.
General correspondence is with artists, museums, collectors, and clients, and generally concerns sales, exhibitions, and consignments. Correspondents include Irving Block, Morris Broderson, Naomi Caryl, Suzanne Jackson, Joseph and Olga Hirshhorn, among many others. Correspondence is also found in the artists files and the collector/client files.
Project files document various events, benefits, and projects undertaken by the gallery, including a UNICEF benefit, "Up Against Hunger," the Exceptional Children's foundation, and the Young Art Patrons.
Administrative files document many activities of the gallery, such as the gallery's and Joan Ankrum's membership in the Black Arts Council, the California Arts Council, and the Art Dealers Association of California of which Joan Ankrum was a primary organizer. Also found are publicity files, a file on the history of the gallery, leases, floor plans, insurance documents, lists of graphics for sale, and other miscellany.
Exhbition files appear to be incomplete, but do include files for Huichol Indian's art, "The Art of African Peoples" (1973), "Five Contemporary Mexican Painters" (1977), Ethiopian Folk Painting (1978), San Diego Museum of Art Artists Guild All Media Exhibition (1982), "25th Anniversary Exhibition" (1985), among several others.
Extensive artists' files include correspondence, price lists, photographs and slides,resumes and biographical material, and sales invoices. Files are found for Benny Andrews, Carlos Almaraz, Richard Bauer, Irving Block, Naomi Caryl, Bernie Casey, Frank Duveneck, Lorser Feitelson, Bruno Groth, David Herschler, Jessie Homer, Suzanne Jackson, Buffie Johnson, Samella Lewis, Helen Lundeberg, Arnold Mesches, Henry Miller, Melvin Schuler, Arthur Secunda, Ken Shores, Jean Varda, and Zev, among many others. The Pat Alexander and Andy Nelson files also contain motion picture film.
Collector and client files document the gallery's relationship with over 115 collectors, museums, and art centers. Files may include correspondence and sales records and are found for Edith Halpert, Olga and Joseph Hirshhorn and the Hirshhorn Museum and Sculpture Garden, the Krannert Art Museum, Laguna Art Museum, Palm Spring Desert Museum, Paramount Pictures, San Diego Museum of Art, Staempfli Gallery, and Storm King Art Center, among many others.
Financial material documents sales through numbered invoices, consignments, loans, and insurance valuations. Printed material consists of exhibition catalogs and announcements, bulletins, periodicals, and newspaper clippings. One unbound scrapbook contains clippings and exhibition materials.
Photographs are of artwork, artists, and gallery openings. Additional photographs are found in the artists' files.
Joan Wheeler Ankrum personal papers document her personal and professional relationship with family, artists, and collectors. They include correspondence, personal writings, personal financial materials, printed material and loose scrapbook materials, family photographs and photographs of her as an actress, and artwork from various artists.
The papers of artist Morris Broderson, nephew of Joan Ankrum, document his professional relationship with the gallery as his primary dealer. Included are biographical materials, correspondence, publicity files, travel files, projects, exhibitions, collector/client files, financial material, printed material, photographs, and artwork.
Arrangement:
This collection is arranged as 12 series.
Missing Title
Series 1: Correspondence, 1961-1994 (0.5 linear feet; Box 1)
Series 2: Project Files, 1965-1987 (0.25 linear feet; Box 1)
Series 3: Administrative Records, 1961- circa 1990s (1 linear foot; Boxes 1-2)
Series 4: Exhibition Files, 1961-1991 (1 linear foot; Boxes 2-3)
Series 5: Artists' Files, 1957-1994 (22.5 linear feet; Boxes 3-25, 41-42, FC 43-45)
Series 6: Collector and Client Files, 1960-1994 (3.2 linear feet; Boxes 25-28)
Series 7: Financial Material, 1962-1990 (1.5 linear feet; Boxes 28-30)
Series 8: Printed Material, 1957-1994 (2 linear feet; Boxes 30-32, 41)
Series 9: Scrapbook, 1960-1988 (3 folders; Box 32)
Series 10: Photographs, circa 1960s-circa 1990s (0.35 linear feet; Boxes 32, 42)
Series 11: Joan Ankrum Personal Papers, circa 1900-1993 (2 linear feet; Boxes 32-34, 41)
Series 12: Morris Broderson Papers, 1941-1989 (7.2 linear feet; Boxes 34-42)
Biographical / Historical:
The Ankrum Gallery was established 1960 in Los Angeles by American film actress Joan Wheeler Ankrum and William Chalee. The gallery closed in 1989.
Joan Wheeler Ankrum and William Challee opened Ankrum Gallery on La Cienega Boulevard in Los Angeles in 1960 with a one-man show of Ankrum's nephew Morris Broderson. With a focus on contemporary California artists, Ankrum Gallery represented over 395 artists during its 30 years in operation, including Benny Andrews, Carlos Almaraz, Richard Bauer, Irving Block, Naomi Caryl, Bernie Casey, Frank Duveneck, Lorser Feitelson, Bruno Groth, David Herschler, Jessie Homer, Suzanne Jackson, Buffie Johnson, Samella Lewis, Helen Lundeberg, Arnold Mesches, Henry Miller, Melvin Schuler, Arthur Secunda, Ken Shores, Jean Varda, and Zev. In addition, the gallery was among the earliest to exhibit the work of black artists. The gallery also held exhibitions of world artists, which included "Art of African Peoples" (1973), "Yarn Paintings of the Huichol Indians" (1973), "Five Contemporary Mexican Painters" (1977), and "Ethiopian Folk Painting" (1978). Ankrum Gallery closed in 1989.
Art dealer and gallery owner, Joan Wheeler Ankrum was an actress before establishing the Ankrum Gallery primarily to showcase the work of her deaf nephew, Morris Broderson. Born in 1913 in Palo Alto, California, she began acting at the Pasadena Playhouse where she met her first husband Morris Ankrum with whom she had two sons, David and Cary Ankrum. She married gallery co-owner and partner William Challee in 1984. She helped organize the Los Angeles Art Dealers Association and the Monday Night Art Walks on La Cienega Boulevard. She was a member of the relatively short-lived Black Arts Council. Joan Wheeler Ankrum died in 2001 at the age of 88.
Morris Broderson (1928-2011) was a deaf painter. His first one-man show was at the Stanford Museum in 1957, followed by the Santa Barbara Museum of Art. By 1959 he'd won two awards from the Los Angeles County Museum, and appeared in the Whitney Museum's "Young America" show in 1960. His travels influenced his work, including the hand gestures of Kabuki art in Japan. His work is in the collections of the Whitney Museum of American Art and the Hirshhorn Museum and Sculpture Garden, among others. Following Joan Ankrum's death in 2001, Broderson was represented by her son David Ankrum.
Related Materials:
Also found in the Archives of American Art are two oral history interviews with Joan Ankrum, one conducted by Betty Hoag, April 28, 1964, and a second by Paul Karlstrom, November 5, 1997-February 4, 1998. Additionally, there is an oral history interview with Morris Broderson conducted by Paul Karlstrom, March 11-13, 1998.
Provenance:
The Ankrum Gallery records were donated to the Archives of American Art by Joan Ankrum in 1995.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The Fred Martin papers measure 10.8 linear feet and 0.886 gigabytes and date from circa 1949-2022. Martin's career as a painter, author, arts administrator, and educator are highlighted in biographical material, correspondence, writings, personal business records, exhibition and gallery files, teaching files, printed material, photographic material, and artwork.
Scope and Contents:
The Fred Martin papers measure 10.8 linear feet and 0.886 gigabytes and date from circa 1949-2022. Martin's career as a painter, author, arts administrator, and educator are highlighted in biographical material, correspondence, writings, personal business records, exhibition and gallery files, teaching files, printed material, photographic material, and artwork.
Biographical material includes school records and transcripts, resumes and membership materials, and personalized astrological charts, as well as signature books related to award ceremonies and birthday celebrations. Correspondence is a combination of personal and professional, and is organized by year. The writings series is comprised of Martin's studio notes, travel journals, and general writings including manuscript drafts and lecture notes. Personal business records include daily planners, employment records with a particular emphasis on the San Francisco Art Institute, itineraries and travel documents, mailing lists, painting lists, conference documentation, and shipping documents.
Exhibition and gallery files include documents related to galleries and museums Martin had exhibited or sold artwork with, as well as files related to select shows from Martin's career. Teaching files includes course outlines and lesson notes as well as curriculum planning documents for the San Francisco Art Institute. Printed material includes exhibition announcements and invitations, exhibition catalogs, and clippings related both to Fred Martin and his Art Week article series, as well as printed copied of select publications by Martin. Photographic material includes photographs of Martin's artwork as well as that of other artists, slides of artwork for certain years, and some photographs of friends and family. Artwork includes works on paper including watercolors created in Rome.
Arrangement:
The collection is arranged as nine series:
Series 1: Biographical Material, circa 1949-2014 (0.3 Linear feet; box 1)
Series 2: Correspondence, circa 1955-2022 (1 Linear foot; boxes 1-2)
Series 3: Writings, circa 1950-2013 (6.2 Linear feet; boxes 2-8; 0.008 Gigabytes: ER0001)
Series 4: Personal Business Records (1 Linear foot; Boxes 8-9)
Series 5: Exhibition and Gallery Files, circa 1958-2012 (0.5 Linear feet; Boxes 9-10; 0.53 Gigabytes: ER0002-ER0006)
Series 6: Teaching Files, circa 1967-2011 (0.7 Linear feet; Box 10; 0.348 Gigabytes: ER0007)
Series 7: Printed Material, circa 1951-2016 (0.5 Linear feet; Boxes 10-11)
Series 8: Photographic Material , circa 1950s-2000s (0.2 Linear feet; Box 12)
Series 9: Artwork, circa 1960s-1990s (0.2 Linear feet; Box 12)
Biographical / Historical:
Fred Martin (1927-2022) was a painter, author, arts administrator, and educator in San Francisco, California.
Born in San Francisco on June 13, 1927, Martin's family relocated to the East Bay when he was a child, and he was raised in Alameda and Oakland primarily. Focusing on art early in his life, Martin received his bachelor's degree in 1949 and master's degree in 1954, both from the University of California at Berkeley. Soon after graduation Martin began working as a registrar at the Oakland Art Museum for four years before joining the San Francisco Art Institute (then known as the California School of Fine Arts) as a gallery director and faculty member. He served as the director of the San Francisco Art Institute from 1965 until 1975, after which he continued teaching and was later named the Emeritus Dean of Academic Affairs.
Martin had his first solo exhibition in 1949 at the Contemporary Gallery in Sausalito, California, and his work was included that same year in a group exhibition of painting and sculpture at the San Francisco Museum of Modern Art. The Oakland Museum of California organized a retrospective exhibition in 2003.
Martin's writing was key to his practice and shaped his artistic and teaching careers. He served as a contributing editor to Artweek from 1976-1992. He also authored a number of artists' books including Beulah Land, published by Crown Point Press in 1966; A Travel Book, published by Arion Press in 1977; and From an Antique Land, published in 1979 by Green Gates Press. His work is represented in the collections of the San Francisco Museum of Modern Art, the Oakland Art Museum, the Richmond Art Center, the Crocker Art Museum, the Fogg Museum at Harvard University, the Museum of Modern Art, and the Whitney Museum of American Art.
Martin continued to teach until his retirement in 2016. He passed away at his home in Berkeley, California on October 8, 2022.
Related Materials:
The Archives of American Art also holds an interview of Fred Martin conducted 1980 Aug. 27-Sept. 19, by Terry St. John, for the Archives of American Art.
Provenance:
A small portion of the collection was donated in 1975 by Fred Martin. The bulk of the collection was donated in 2023 by Demian Martin, Fred Martin's son.
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.
Occupation:
Painters -- California -- San Francisco Search this
Educators -- California -- San Francisco Search this
Arts administrators -- California -- San Francisco Search this
Authors -- California -- Santa Barbara Search this
Genre/Form:
Sketchbooks
Drawings
Interviews
Citation:
Fred Martin papers, circa 1949-2022. Archives of American Art, Smithsonian Institution.
The papers of painters Oscar Van Young and Loli Vann measure 3.2 linear feet and date from 1924-1994. The collection sheds light on the careers of both artists through biographical materials, correspondence, personal business records, museum and gallery files, printed materials, and photographic materials.
Scope and Contents:
The papers of painters Oscar Van Young and Loli Vann measure 3.2 linear feet and date from 1924-1994. The collection sheds light on the careers of both artists through biographical materials, correspondence, personal business records, museum and gallery files, printed materials, and photographic materials.
Biographical materials include resumes, certificates and awards, writings that include O. V. Young's master's thesis and artist statements, and photographic materials depicting the artists, artwork, events, and family gatherings.
Correspondence includes letters from friends, correspondence with artist and author Louise Dunn Yochim about her book, Harvest of Freedom: Jewish Artists in America 1930-1980s (1989), communication with collectors, and correspondence between Loli Vann and O. V. Young during his painting trip to St. Thomas in 1953.
Personal business records include inventories and lists of collectors, correspondence with Bugatti publishing, exhibition files, and index cards that list exhibited works by O. V. Young and Loli Vann throughout their careers. O. V. Young's teaching files include documentation of courses he taught and his credentials. Museum and gallery files document consignments and prices, and include correspondence with curators, and printed materials such as brochures, clippings, and catalogs. Printed materials consist of articles related to O. V. Young and Loli Vann's art career, Enciclopedia Internazionale Degli Artisti (1971) vols. 2 and 3 featuring O. V. Young and Loli Vann, exhibition catalogs and announcements, miscellaneous clippings of interest, and two scrapbooks.
Arrangement:
The collection is arranged as five series.
Series 1: Biographical Materials, 1924, 1946-1988 (Box 1,4; 0.8 linear feet)
Series 2: Correspondence Files, 1943-1993 (Box 1; 0.3 linear feet)
Series 3: Personal Business Records, 1936-1991 (Box 1-2, 4; 0.8 linear feet)
Series 4: Gallery and Museum Files, 1949-1994 (Box 2-3; 0.5 linear feet)
Series 5: Printed Materials, 1940s-1993 (Box 3, 5, OV 6-7; 0.8 linear feet)
Biographical / Historical:
Painter and lithographer Oscar Van Young (1906-1993) and painter Loli Vann (1913-1999), were active in Chicago and Los Angeles. They were married from 1935 until Van Young's death in 1993.
Van Young was born in Austria but his family moved to Russia in 1918 where he received a scholarship to attend the Academy of Fine Arts in Odessa. He moved to the U.S. in 1923, living with relatives in Chicago and working for a linen shop before becoming an apprentice in an engraving house and an artist lithographer. He lost his job in 1930 and began painting full time. Around 1932, Young met Sam Ostrowsky who soon became his private painting instructor. It was at Ostrowsky's studio that Young met Loli Vann and the two were married in 1935. The couple frequently exhibited their artwork in joint exhibitions and moved to Los Angeles in the early 1940s.
Over the next several decades, Young had one-man shows at many California museums and elsewhere in the United States, and was represented in multiple group exhibitions. He attended Los Angeles State College from 1954 to 1959, earning his bachelor's and master's degree, and subsequently taught art at Pasadena City College (1959-1973), California State University at Los Angeles (1960-1963), and elsewhere. His work can be found in the collections of Los Angeles County Museum, Israel Art Museum, Chaffey College, Smithsonian Institution, and private collections around the world.
Loli Vann studied at the Art Institute of Chicago and with Sam Ostrowsky. She exhibited her paintings at Los Angeles Museum, Los Angeles Art Association, Pasadena Art Institute, Chaffey Community Art Association, La Jolla Art Center, Cowie Galleries, Carnegie Institute, Corcoran Gallery of Art, and Glendale Public Library. Vann worked as an executive secretary for the Los Angeles Division of Labor Law Enforcement form circa 1950 to 1975 before retiring to focus on painting full time.
Provenance:
The collection was donated by Lilian Van Young (Loli Vann) in 1994.
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 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.
Oscar Van Young and Loli Vann papers, 1924-1994. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The papers of painter and author Hilda Pertha measure 10.5 linear feet and date from 1938 to 2018. The collection comprises biographical materials, correspondence, journals, writings, professional and project files, personal business records, printed materials, artwork, and photographic materials that document Pertha's early textile design work, and her subsequent painting, and writing career in Mendocino and Europe.
Scope and Contents:
The papers of painter and author Hilda Pertha measure 10.5 linear feet and date from 1938 to 2018. The collection comprises biographical materials, correspondence, journals, writings, professional and project files, personal business records, printed materials, artwork, and photographic materials that document Pertha's early textile design work, and her subsequent painting, and writing career in Mendocino and Europe.
Biographical materials consist of appointment books, resumes and chronologies, a transcript of an interview of Pertha conducted by Joan Marler, and a recording of family at Christmas. Correspondence is with family, galleries, buyers and collectors, and others including Carl Nesjar, Mirl Simmons, and Justin Stone. The collection also contains 6 journals, writings that include 74 notebooks with notes on museums in Europe, artworks by Pertha, and other topics, as well as manuscripts of articles for the magazine West Art, and drafts for a book about painting.
Pertha's professional files include sound recordings relating to symposiums and workshops, scrapbooks, and guestbooks. Project files include material regarding Pertha's work on the Federal Art Project, and photographs and sketches for floral themed paintings. Pertha's business records include gallery files, consignment and sales records, and artwork and price lists. Printed materials relate to Pertha's career, her exhibitions, and writings for art magazines. Artwork consists of nature sketches and drawings, ink and abstract sketches, and designs for textiles. Photographic materials include photographic prints, negatives, slides, and transparencies of Pertha, friends, exhibitions, Norway, and artwork along with digital images of Pertha's artwork that were cataloged by Connie Korbel-Mickey.
Arrangement:
The collection is arranged as 10 series.
Series 1: Biographical Material, 1944-2010 (0.5 linear feet; Box 1)
Series 2: Correspondence, 1948-2018 (1.5 linear feet; Boxes 1-3)
Series 3: Journals, 1982-2002 (0.2 linear feet; Box 12)
Series 4: Writings and Writing Projects, 1938-2018 (3.0 linear feet; Boxes 3-5)
Series 5: Professional Files, 1950s-2002 (1.0 linear feet; Boxes 5-6)
Series 6: Project Files, circa 1940s-2000s (1.0 linear feet; Boxes 6-7)
Series 7: Personal Business Records, 1955-2010 (0.5 linear feet; Boxes 7-8)
Series 8: Printed Materials, 1940-2011 (0.6 linear feet; Boxes 8-9, 11)
Series 9: Artwork, 1940s-circa 2010 (1.0 linear feet; Boxes 9-11)
Series 10: Photographic Materials, 1950s-2011 (1.2 linear feet; Boxes 10-11)
Biographical / Historical:
Hilda Pertha (1911-2011) was an author and painter in Mendocino, California and Europe, who worked primarily in oil.
Born in Pensauken, New Jersey, Pertha studied at the Philadelphia College of Art, the Barnes Foundation, and Settlement Music School. In the 1950s she worked as a textile designer in New York City and Europe while trying to grow her painting career. Pertha spent time in Norway where she felt a strong connection to the land and people. She befriended Norwegian artists like Carl Nesjar with whom she kept in touch throughout her life. Pertha exhibited in Norway, as well as other parts of Europe. In Mendocino, she was active at Mendocino Art Center as an exhibitor and teacher after being invited to teach by founder William (Bill) Zacha. She also wrote over 200 articles for the magazine West Art. Pertha died in 2011 in Mendocino.
Provenance:
The Hilda Pertha papers were donated in 2013 by Mila Ahern, Hilda Pertha's daughter, and in 2019 and 2022 by Connie Korbel-Mickey, Pertha's biographer.
Restrictions:
Hilda Pertha's journals in Series 3 are access restricted; written permission is required. Contact Reference Services for more information.
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.
The donor has retained all intellectual property rights, including copyright, that they may own.
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975. 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. Funding for the digitization of two motion picture films was provided by the Smithsonian Women's Committee, and for the remaining sound and video recordings from the Smithsonian's Collection Care Pool Fund. Funding for the digitization of the collection, not including audiovisual materials, was provided by The Walton Family Foundation and the Terra Foundation for American Art.
New Deal and the Arts Oral History Project Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Elmer Bischoff, 1965 January 20. Archives of American Art, Smithsonian Institution.
New Deal and the Arts Oral History Project Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Olga Burroughs, 1964 October 25. Archives of American Art, Smithsonian Institution.
Wayne Thiebaud, American, b. Mesa, Arizona, 1920–2021 Search this
Medium:
Oil on canvas
Dimensions:
48 1/8 x 36 1/4 in. (122.2 x 92.1 cm)
Type:
Painting
Date:
1963
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Joseph H. Hirshhorn Bequest Fund, Smithsonian Collections Acquisition Program, and Museum Purchase, 1996
The Exhibitions series includes schedules and information about traveling shows, which were usually group exhibitions built around themes; these records are arranged chronologically. The majority of the records in this series consist of files on particular exhibitions, including both traveling shows and exhibitions held at Midtown Galleries; these records are arranged alphabetically by exhibition title. See the Appendix for .
See Appendix for a chronological list of Midtown Galleries exhibitions documented in Series 2.
Arrangement note:
The series is organized into two subsseries:
Missing Title
2.1: Schedules and General Correspondence, 1932-1982, undated
Appendix: List of Midtown Galleries Exhibitions Documented in Series 2:
This list was compiled from announcements and catalogs produced by Midtown Galleries. A few of these were not included with the Midtown Galleries records, but were microfilmed in the mid-1960s as part of an Archives of American Art project to microfilm exhibition catalogs at a number of art libraries. Microfilm reel and frame numbers for these items are indicated in parentheses (reel: frames) immediately following the title. Most are part of Series VII: Printed Matter, and are microfilmed in chronological order; those marked with an asterisk (*) are part of the 1997 addition (5438: 713-838 and 889-932).
DateExhibitionNov. 1-15, 1932 -- Paintings by Bertram Goodman
Dec. 5-29, 1932 -- Paintings by Saul [Berman]
Nov. 7-22, 1933 -- Paintings by Marko Vukovic
Jan. 2-17, 1934 -- Recent Paintings of Nantucket by Margaret Wendell Huntington
Jan. 22-Feb.3, 1934 -- Paintings by Miron Sokole
April 2-17, 1934 -- Watercolors by Eleanor Hine
April 18-May 5, 1934 -- Paintings by Ary Stillman
Oct. 15-27, 1934 -- Paintings by Arthur L. Esner
Dec. 5-22, 1934 -- New York Night, Paintings by Eugene C. Fitsch
Jan. 14-26, 1935 -- Water Colors by E. Helen Young
Feb. 18-March 15, 1935 -- Paintings by Saul [Berman]
March 7-23, 1935 -- Drawings and Etchings by Isabel Bishop
April 1-19, 1935 -- Four Recent Guggenheim Fellows (Paintings by Francis Criss, Frank Mechau, Jr., and Doris Rosenthal, and Sculptures by Oronzio Maldarelli)
April 16-29, 1935 -- Feminanities, Paintings by Minna Citron
May 1-19, 1935 -- Doris Rosenthal (N442:537-538)
Dec. 26-Jan. 9, 1936 -- Vermont Farms by Margaret W. Huntington
Dec. 26-Jan. 12, 1936 -- Paintings of Massachusetts and Pennsylvania by Maurice Freedman
Feb. 11-29, 1936 -- Paintings by Isabel Bishop
April 10-25, 1936 -- Watercolors by Eugenie Schein
May 11-25, 1936 -- Paintings by Vincent Spagna
Oct. 14-31, 1936 -- Paintings by Martha Simpson
Dec. 8-24, 1936 -- Watercolors by Betty Pierson-Parsons
Dec. 13-24, 1936 -- American Print Makers Tenth Anniversary Annual Exhibition of Etchings, Lithographs, Woodcuts
Feb. 1-15, 1937 -- Doris Rosenthal
March 22-April 10, 1937 -- Paintings by Paul Cadmus
April 12-24, 1937 -- Paintings by Edith Nagler
April 19-May 3, 1937 -- Watercolors of Mexico by Eugenie Schein
Oct. 5-18, 1937 -- Vincent Spagna (Br15:527-529)
Oct. 19-Nov. 4, 1937 -- Paintings by Minna Citron
Nov. 5-22, 1937 -- Paul Mommer (Br15:533-535)
Nov. 23-Dec. 6, 1937 -- Paintings by Mary Hutchinson
Nov. 23-Dec. 6, 1937 -- Contemporary American Artists (Br15:536)
Dec. 7-20, 1937 -- Herbert Ferber (Br15:539-541)
Dec. 21-Jan. 3, 1938 -- Paintings by Alfred Kraemer
Jan. 4-17, 1938 -- Paintings by M. Azzi Aldrich
Feb. 8-26, 1938 -- Paintings and Drawings of Mexico by Doris Rosenthal
Sept. 16-Oct. 3, 1938 -- Paintings by Margit Varga
Nov. 21-Dec. 10, 1938 -- Paintings and Drawings by Zoltan Sepeshy
Dec. 8-24, 1938 -- Water Colors by Betty P. Parsons
Dec. 12-30, 1938 -- Water Colors of Bucks County by Lionel S. Reiss
Dec. 27-Jan. 14, 1939 -- Paintings by Jacob Getlar Smith
Jan. 17-Feb. 4, 1939 -- Paintings and Drawings by Isabel Bishop
Feb. 6-20, 1939 -- Paintings by Vincent Drennan
March 7-25, 1939 -- Paintings by Miron Sokole
March 27-April 15, 1939 -- Paintings of Mexico by Doris Rosenthal
April 17-May 6, 1939 -- Recent Paintings by Waldo Peirce
Sept. 26-Oct. 14, 1939 -- Paintings by Maurice Freedman
Oct. 17-Nov. 2, 1939 -- Paintings by Vincent Spagna
Nov. 3-20, 1939 -- Paintings by Minna Citron
Nov. 21-Dec. 9, 1939 -- Paintings by Frederic Taubes
Dec. 9-24, 1939 -- Water Colors by Betty P. Parsons
Jan. 3-20, 1940 -- Paintings by Emlen Etting
Feb. 20-March 9, 1940 -- Paintings by Paul Meltsner
March 19-April 6, 1940 -- Paintings and Watercolors by Bernardine Custer
Nov. 11-30, 1940 -- Paintings by Fletcher Martin
Dec. 2-21, 1940 -- Paintings by Simka Simkhovitch
Feb. 3-22, 1941 -- Paintings and Watercolors by Zoltan Sepeshy
March 3-22, 1941 -- Paintings by Doris Rosenthal
April 14-May 3, 1941 -- Paintings by Waldo Peirce
July 22-Aug. 22, 1941 -- Dealers Show American Art
Nov. 3-22, 1941 -- Pastels by Gladys Rockmore Davis
Nov. 25-Dec. 13, 1941 -- Water Colors by Betty P. Parsons
Dec. 15-Jan. 3, 1942 -- Paintings of the Tennessee Valley by Minna Citron
Jan. 6-24, 1942 -- Paintings by Jacob Getlar Smith
Jan. 26-Feb. 14, 1942 -- Watercolors by Zoltan Sepeshy
March 3-21, 1942 -- Tenth Anniversary Loan Exhibition, Works of Art by Midtown Artists Borrowed Back for this event from the Permanent Collections of Leading American Museums and Collectors
March 31-April 18, 1942 -- Watercolors by Waldo Peirce
April 27-May 16, 1942 -- Paintings by Vincent Spagna
May 18-June 6, 1942 -- Drawings by Isabel Bishop
Jan. 4-29, 1943 -- Watercolors by Jacob Getlar Smith
Feb. 8-March 6, 1943 -- Paintings of Mexico by Doris Rosenthal
March 5-27, 1943 -- Water Colors, Drawings and Prints by Contemporary American Artists at MacMurray College, courtesy of Midtown Galleries
March 29-April 17, 1943 -- Drawings by Minna Citron
April 19-May 15, 1943 -- Paintings by Gladys Rockmore Davis
May 17-June 4, 1943 -- Sculpture, Water Colors and Drawings by Herbert Ferber
Oct. 19-Nov. 6, 1943 -- Watercolors of the United States by Dong Kingman
Nov. 9-27, 1943 -- Ceramic Sculpture by Lilian Swann Saarinen
Nov. 23-Dec. 11, 1943 -- Drawings, Pastels, and Paintings by Doris Rosenthal
Jan. 25-Feb. 12, 1944 -- Paintings by William Thon
Feb. 5-21, 1944 -- Paintings by Mary E. Hutchinson
March 21-April 15, 1944 -- Paintings of the Ballet Backstage by Gladys Rockmore Davis
April 17-May 6, 1944 -- Paintings by Miron Sokole
May 9-27, 1944 -- Paintings by Waldo Peirce
May 29-June 17, 1944 -- Water Colors of the Stage Door Canteen and Other Home Front Activities by Bernardine Custer
Nov. 13-Dec. 2, 1944 -- Watercolors by Dong Kingman
Dec. 5-23, 1944 -- The Road to Paris, Gouaches by Emlen Etting
Dec. 26-Jan. 13, 1945 -- New York Harbor in Wartime by Julien Binford
Dec. 28-Jan. 15, 1945 -- Paintings by Fletcher Martin
Jan. 15-Feb. 3, 1945 -- Paintings, Gouaches and Drawings by Philip Guston
May 1-19, 1945 -- Paintings of Guatemala by Doris Rosenthal
Oct. 16-Nov. 3, 1945 -- Watercolors by Dong Kingman
Nov. 6-Dec., 1945 -- The Peirce Children Grow Up, Paintings by Waldo Peirce
Jan. 8-26, 1946 -- Memorial Exhibition of Paintings and Watercolors by Renee Lahm
Feb. 3, 1946 -- Upjohn Company Collection of Contemporary American Painting, High Museum of Art, Atlanta, Georgia
Feb. 19-March 9, 1946 -- Paintings by Henry Billings
April 23-May 11, 1946 -- Paintings by William Thon
Oct. 22-Nov. 9, 1946 -- Moods of Children, Paintings by Gladys Rockmore Davis
Oct. 6-26, 1946 -- Upjohn Collection of Contemporary American Paintings, Delaware Art Center, Wilmington, Delaware
Nov. 19-Dec. 7, 1946 -- Paintings and Watercolors by Zoltan Sepeshy
Feb. 2-March 1, 1947 -- Paintings by Isabel Bishop
Feb. 11-March 1, 1947 -- Paintings by Maurice Freedman
March 11-29, 1947 -- Watercolors by Dong Kingman
March 12-30, 1947 -- Recent Oil Paintings by Emlen Etting
April 1-26, 1947 -- 15th Anniversary Exhibition, Painting and Sculpture by Members of the Midtown Group of American Artists
April 2-20, 1947 -- Recent Oil Paintings by Fred Nagler
April 13-26, 1947 -- Upjohn Collection of Contemporary American Paintings, Stockwell Memorial Library, Albion College, Albion, Michigan
April 29-May 16, 1947 -- Paintings by Lenard Kester
May 12-28, 1947 -- Upjohn Collection of Contemporary American Painting, Davenport Municipal Art Gallery, Davenport, Iowa
Sept. 2, 1947 -- Upjohn Collection of Contemporary American Painting, Brooks Memorial Art Gallery, Memphis, Tennessee
Oct. 5-25, 1947 -- Upjohn Collection of Contemporary American Painting, Illinois State Museum, Springfield, Illinois
Oct. 14-Nov. 1, 1947 -- Paintings by William Palmer
Dec. 8-29, 1947 -- Upjohn Company Collection of Contemporary American Painting, The Burpee Art Gallery, Rockford, Illinois
Jan. 27-Feb. 16, 1948 -- Paintings by Henry Koerner
Feb. 1, 1948 -- Upjohn Company Collection of Contemporary American Painting, Mulvane Art Museum, Washburn University, Topeka, Kansas
March 2-20, 1948 -- Watercolors by Dong Kingman
March 7-28, 1948 -- Upjohn Company Collection of Contemporary American Painting, Oklahoma Art Center, Oklahoma City, Oklahoma
March 22-April 3, 1948 -- American Art, A Multiple Exhibition arranged by The Association of Dealers in American Art, and Held in Their Galleries
April 6-24, 1948 -- Paintings and Gouaches by Maurice Freedman
April 11-25, 1948 -- Upjohn Company Collection of Contemporary American Painting, Isaac Delgado Museum of Art, New Orleans, Louisiana
May 6-23, 1948 -- Upjohn Company Collection of Contemporary American Painting, Dallas Health Museum, Dallas, Texas
May 11-29, 1948 -- Paintings and Mural Sketches by Emlen Etting
June 5-28, 1948 -- Upjohn Company Collection of Contemporary American Painting, William Rockhill Nelson Gallery of Arts and Mary Atkins Museum of Fine Arts, Kansas City, Missouri
July 6-29, 1948 -- Upjohn Company Collection of Contemporary American Painting, Kenosha Historical and Art Museum, Kenosha, Wisconsin
Oct. 5-23, 1948 -- Paintings by Lenard Kester
Jan. 4-22, 1949 -- Watercolors of Italy by William Thon
Jan. 25-Feb. 12, 1949 -- Paintings by Henry Koerner
Feb. 21-March 12, 1949 -- Paintings by Cecile Belle
March 15-April, 1949 -- Paintings and Drawings by Anatol Shulkin
April 5-23, 1949 -- Watercolors by Dong Kingman
May 3-21, 1949 -- Paintings by Isabel Bishop
June 3-26, 1949 -- Upjohn Company Collection of Contemporary American Painting, E. B. Crocker Art Gallery, Sacramento, California
Oct. 4-22, 1949 -- Paintings in Gouache by Fred Meyer
Oct. 25-Nov. 19, 1949 -- Paintings by Gladys Rockmore Davis
Nov. 22-Dec. 17, 1949 -- Paintings by Paul Cadmus, 1938-1949
Jan. 10-28, 1950 -- Non-Realistic and Objectionable Portraits of American Artists by Isabella Howland (drawings)
Jan. 31-Feb. 18, 1950 -- Paintings and Watercolors by Zoltan Sepeshy
Feb. 28-March 18, 1950 -- Drawings and Water Colors, Paris - Honolulu, by Emlen Etting
March 9-20, 1950 -- The Art Department of Northeast Missouri State Teachers College Presents... Contemporary American Artists, Midtown Galleries, New York City
March 21-April 15, 1950 -- Paintings and Gouaches by Henry Koerner
April 18-May 6, 1950 -- Paintings of Italy by William Thon
May 9-27, 1950 -- Recent Watercolors by Dong Kingman
Oct. 31-Nov. 25, 1950 -- Twenty-one Paintings in Casein and Ink by William C. Palmer
Nov. 28-Dec. 23, 1950 -- Recent Paintings by Fred Nagler
Jan. 2-29, 1951 -- Mobile Art Association Presents Contemporary Artists Circuited by Midtown Galleries
Feb. 6-24, 1951 -- Paintings by Miron Sokole
March 6-31, 1951 -- Paintings and Drawings by Henry Koerner
April 3-21, 1951 -- The Dance, Paintings and Drawings by Emlen Etting
May 1-26, 1951 -- 10 Year Retrospective Exhibition of Watercolors by Dong Kingman
Oct. 9-27, 1951 -- Watercolors and Oil Paintings by William Thon
Nov. 6-Dec. 1, 1951 -- 100 Drawings by Henry Koerner
Jan. 8-26, 1952 -- Oil Paintings by William Palmer
Feb. 5-25, 1952 -- Paintings by Maurice Freedman
Feb. 20-23, 1952 -- Paintings and Drawings by Doris Rosenthal Presented by Haygood Lasseter Interiors, Miami, through courtesy of Midtown Galleries, New York City
May 6-24, 1952 -- Paintings of the West Indies by Doris Rosenthal
June 4-28, 1952 -- 20 Years of the Midtown Galleries, A Pictorial Survey of Twenty Years' Activity in the Promotion of Outstanding Contemporary American Art
Nov. 5-29, 1952 -- Paintings by Henry Koerner
March 31-April 25, 1953 -- Paintings of Spain by Gladys Rockmore Davis
April 28-May 23, 1953 -- Paintings by Cecile Belle
Oct. 20-Nov. 7, 1953 -- Paintings by Margit Varga
Nov. 17-Dec. 5, 1953 -- Paintings by Zoltan Sepeshy
Dec. 14-Jan. 9, 1954 -- Paintings by William Palmer
Feb. 9-27, 1954 -- Dong Kingman's Water Colors
April 6-May 1, 1954 -- Recent Paintings and Drawings by Henry Koerner
May 4-29, 1954 -- Watercolors by William Thon
Sept. 20, 1954 -- Art In Interiors
Oct. 19-Nov. 6, 1954 -- Paintings by Robert Vickrey
Nov. 16-Dec. 4, 1954 -- Recent Paintings by Emlen Etting
Dec. 7-31, 1954 -- Recent Paintings by William Thon
Jan. 25-Feb. 12, 1955 -- Paintings of Mexico by Doris Rosenthal
Feb. 23-March 19, 1955 -- Paintings by Henry Koerner
April 12-May 7, 1955 -- Paintings and Lithographs by Robert Sivard
May 10-June 4, 1955 -- Watercolors and Drawings by Dong Kingman
Oct. 25-Nov. 19, 1955 -- Paintings and Drawings by Isabel Bishop
Nov. 22-Dec. 17, 1955 -- Paintings by William Thon
Feb. 21-March 10, 1956 -- Paintings and Gouaches by Maurice Freedman
March 13-31, 1956 -- Paintings by Cecile Belle
April 3-21, 1956 -- Recent Paintings by Miron Sokole
May 8-June 2, 1956 -- Watercolors by Dong Kingman
Sept. 25-Oct. 17, 1956 -- 5th Annual Exhibition, Art In Interiors
Nov. 20-Dec. 15, 1956 -- Paintings of Bali by Gladys Rockmore Davis
Dec. 26-Jan. 19, 1957 -- Paintings by Zoltan Sepeshy
Jan. 22-Feb. 16, 1957 -- Paintings of Mexico by Doris Rosenthal
Feb. 19-March 9, 1957 -- Paintings and Drawings by Emlen Etting
March 12-30, 1957 -- Paintings by Henry Koerner
May 7-June 8, 1957 -- 25th Anniversary Loan Exhibition, Lent by American Museums and Collectors
Nov. 12-30, 1957 -- Paintings by Betty Parsons
Dec. 3-28, 1957 -- Paintings by William Palmer
Dec. 31-Jan. 25, 1958 -- Paintings by Fred Nagler
Feb. 18-March 15, 1958 -- Paintings by Henry Koerner
March 18-April 12, 1958 -- Watercolors by Dong Kingman
April 15-May 10, 1958 -- Paintings by William Thon
May 13-31, 1958 -- Paintings by Annette Bartle
Oct. 28-Nov. 15, 1958 -- Paintings by Robert Sivard
Nov. 18-Dec. 6, 1958 -- Paintings by Robert Vickrey
Jan. 27-Feb. 21, 1959 -- Paintings by Ernest Fiene
Feb. 24-March 14, 1959 -- Paintings by Jason Schoener
March 17-April 4, 1959 -- Paintings by Waldo Peirce
April 14-May 2, 1959 -- Sculpture by Raimondo Puccinelli
May 5-23, 1959 -- Annual Good Drawing Exhibition by Distinguished American Draughtsmen
Sept. 29-Oct. 21, 1959 -- Th Annual Exhibition, Art In Interiors
Nov. 17-Dec. 5, 1959 -- Paintings by Maurice Freedman
Dec. 8-26, 1959 -- Paintings by William Palmer
Jan. 5-30, 1960 -- Paintings by Henry Koerner
March 1-26, 1960 -- Paintings by Waldo Peirce
March 29-April 23, 1960 -- Paintings and Watercolors by William Thon
May 3-28, 1960 -- Paintings by Isabel Bishop
Sept. 20-Oct. 19, 1960 -- The Annual Exhibition, Art In Interiors
Oct. 25-Nov. 19, 1960 -- Paintings by Robert Vickrey
Nov. 22-Dec. 10, 1960 -- Paintings by Annette Bartle
Dec. 12-Jan. 6, 1960 -- Paintings by William Palmer
Dec. 13-Jan. 7, 1961 -- Paintings by Jason Schoener
Jan. 10-Feb. 4, 1961 -- Recent Paintings by Emlen Etting
Feb. 28-March 18, 1961 -- Drawings by Henry Koerner
March 21-April 15, 1961 -- Paintings by Zoltan Sepeshy
April 18-May 13, 1961 -- Watercolors by 5: William Thon, Jason Schoener, Robert Vickrey, Edward Betts, Fred Nagler
Sept. 27-Oct. 18, 1961 -- 10th Anniversary Exhibition, Art In Interiors
Jan. 16-Feb. 3, 1962 -- Oh, Fearful Wonder of Man, Recent Paintings and Drawings by Henry Koerner
March 21-April 7, 1962 -- Barabbas
April 10-May 5, 1962 -- Paintings and Watercolors by Robert Vickrey
June 5-July 6, 1962 -- Oil Paintings and Watercolors by William Thon
Nov. 23-Dec. 15, 1962 -- 30th Anniversary Loan Exhibition, Loans from American Museums and Collectors
Dec. 19-Jan. 5, 1963 -- Recent Paintings and Drawings by Henry Koerner
Jan. 8-Feb. 2, 1963 -- Oil Paintings, Nos. 1 through 25, Paintings of Maine, California, Greece, etc., Gouaches by Jason Schoener
March 5-30, 1963 -- Four Distinguished American Painters: William Thon, Robert Vickrey, Jason Schoener, Edward Betts
April 2-27, 1963 -- 30 Years of Religious Painting by Fred Nagler
April 30-May 18, 1963 -- Forms in Light, 1959-1963, Recent Paintings by Henry Billings
Oct. 8-26, 1963 -- Recent Paintings by Annette Bartle
Oct. 29-Nov. 16, 1963 -- Recent Paintings by Maurice Freedman
Nov. 26-Dec. 21, 1963 -- Recent Paintings by William Palmer
Feb. 18-March 14, 1964 -- Paintings and Drawings by Siegfried Reinhardt
March 17-April 11, 1964 -- Paintings and Drawings by William Thon
April 21-May 9, 1964 -- Drawings, Watercolors, and Welded Sculpture by Nathan Cabot Hale
Oct. 6-31, 1964 -- Paintings of Maine by Midtown's Maine Artists (Hans Moller, Edward Betts, William Thon, Waldo Peirce, and Jason Schoener)
Nov. 10-Dec. 5, 1964 -- Paintings by Hans Moller
Dec. 8-26, 1964 -- Twenty Five Years of Drawing by Emlen Etting
Jan. 4-22, 1966 -- Paintings from the Greek Islands by Emlen Etting
Jan. 25-Feb. 12, 1966 -- Paintings of Greece by Jason Schoener
Feb. 15-March 12, 1966 -- Recent Paintings by Robert Sivard
March 15-April 2, 1966 -- Recent Paintings by Annette Bartle
April 5-30, 1966 -- Paintings and Watercolors by William Thon
Sept. 11-Oct. 7, 1966 -- Midtown Galleries Exhibition at Charleston Art Gallery, Charleston, W. Va.
Sept. 7-Oct. 22, 1966 -- Paintings of Maine by Midtown's Maine Artists (Hans Moller, William Thon, Edward Betts, Waldo Peirce, and Jason Schoener)
Oct. 25-Nov. 12, 1966 -- Flowers in Art, Paintings and Watercolors
Nov. 8-Dec. 3, 1966 -- Paintings by Siegfried Reinhardt
Dec. 6-31, 1966 -- Small Paintings by Major Artists (Isabel Bishop, Paul Cadmus, William Palmer, Robert Vickrey, Emlen Etting, Doris Rosenthal, Robert Sivard, Edward Betts, Jason Schoener, Roy Moyer, Waldo Peirce, Hans Moller, Charles Coiner, Maurice Freedman, Fred Nagler, etc.)
Jan. 4-28, 1967 -- Recent Paintings by Hans Moller
March 14-April 1, 1967 -- 35th Anniversary Exhibition, A Documentary Presentation of Midtown Galleries' 35 Years of Varied Activities in Behalf of the Contemporary American Artist
April 4-29, 1967 -- Paintings by Isabel Bishop
May 9-June 3, 1967 -- Watercolors by Four Distinguished American Painters (William Thon, Hans Moller, Jason Schoener, Edward Betts)
Oct. 3-28, 1967 -- Recent Paintings of France by Robert Sivard
Oct. 31-Nov. 25, 1967 -- Recent Paintings by Roy Moyer
Nov. 28-Dec. 16, 1967 -- Watercolors by Four (William Thon, Edward Betts, Jason Schoener, Hans Moller)
Dec. 12-Jan. 6, 1968 -- Paintings by William Palmer
Jan. 7-28, 1968 -- Group Exhibition at the Columbus Museum of Arts and Crafts, Inc., Columbus, Ga., Courtesy of Midtown Galleries
Jan. 16-Feb. 10, 1968 -- Recent Paintings of the Scottish Highlands by Charles Coiner
Feb. 13-March 9, 1968 -- Recent Sculpture by Fred Meyer
March 1-April 6, 1968 -- Retrospective Selection of Drawings and Prints, Including Loans from Public and Private Collections, 1907-1968
April 9-May 4, 1968 -- Paintings of Ireland by William Thon
May 7-31, 1968 -- Sculpture, Watercolors and Drawings by Nathan Cabot Hale
Oct. 15-Nov. 9, 1968 -- Recent Paintings by Edward Betts
Nov 12-Dec. 7, 1968 -- Elections: Waldo Peirce, 1938-1968
Dec. 10, 1968-Jan. 4, 1969 -- Watercolors by 4 Members of the Midtown Group Noted for their Work in this Medium (William Thon, Edward Betts, Jason Schoener, Hans Moller)
Feb. 4-March 1, 1969 -- Paintings by Jason Schoner
April 1-26, 1969 -- Recent Paintings by Ethel Magafan
April 29-May 24, 1969 -- Paintings by Robert Vickrey
Oct. 7-Nov. 1 Hans, 1969 -- Watercolors by Five Distinguished American Painters (William Thon, Moller, Ethel Magafan, Jason Schoener, and Edward Betts)
Nov. 5-29, 1969 -- Paintings by Richard Mayhew
Dec. 2-27, 1969 -- Recent Paintings by William Palmer
Jan. 6-24, 1970 -- Exhibition of Paintings by Maurice Freedman
Feb., 1970 -- 38th Anniversary Exhibition
March 3-28, 1970 -- Paintings of Mykonos, Etc. by Margit Varga
Sept. 29-Oct. 24, 1970 -- Watercolors and Pastels of Monhegan, Maine, by Hans Moller
Jan. 19-Feb. 13, 1971 -- Recent Paintings by Stephen Etnier
March 16-April 10, 1971 -- Paintings by Richard Mayhew
April 13-May 8, 1971 -- Paintings by Charles Coiner
May 21-June 5, 1971 -- Earth, Sea and Sky: Naturescapes by Eight Artists, Squibb Gallery, Courtesy of Midtown Galleries
Sept. 28-Oct. 23, 1971 -- Paintings by Emlen Etting
Oct. 26-Nov. 20, 1971 -- Bishop, Cadmus, Vickrey*
Nov. 23-Dec. 18, 1971 -- Paintings by William Thon
Dec. 21-Jan. 15, 1972 -- Paintings by Maurice Freedman
Jan. 18-Feb. 12, 1972 -- Paintings of Latin America by Jason Schoener
Feb. 15-March 11, 1972 -- Fortieth Anniversary Exhibition (In Tribute to the Memory of Alan D. Gruskin)
March 14-April 8, 1972 -- Paintings of Maine and California by Edward Betts
May 9-June 3, 1972 -- Flowers in Art (Paintings by Waldo Peirce, William Palmer, Emlen Etting, Roy Moyer, Maurice Freedman, Hans Moller, Charles Coiner, Julien Binford, Robert Vickrey)
Oct. 24-Nov. 18, 1972 -- Waldo Peirce Memorial Exhibition, Paintings of the Last Two Decades
Oct. 3-21, 1972 -- Drawings by Eight Important Contemporary American Artists (Isabel Bishop, Paul Cadmus, Emlen Etting, Ethel Magafan, Richard Mayhew, Hans Moller, William Palmer, William Thon)
Nov. 21-Dec. 16, 1972 -- Paintings by Robert Vickrey
Dec. 19-Jan. 13, 1973 -- Religious and Figurative Paintings by Fred Nagler
March 6-31, 1973 -- Recent Paintings by Hans Moller
April 3-28, 1973 -- Paintings by Ethel Magafan
June 5-22, 1973 -- New Talent Festival
Oct. 2-27, 1973 -- Sculpture and Drawings by Nathan Cabot Hale
Oct. 30-Nov. 24, 1973 -- Recent Paintings of England, Scotland and Wales by Charles Coiner
Jan. 8-Feb. 2, 1974 -- A Selection of Drawings and Prints by Isabel Bishop
Feb. 5-March 2, 1974 -- 42nd Anniversary Exhibition, Paintings of the Thirties
March 5-30, 1974 -- Paintings by Richard Mayhew
April 2-27, 1974 -- Flowers by Julien Binford
June 4-15, 1974 -- New Talent Festival
Oct. 1-26, 1974 -- Terra Cottas and Bronzes by Fred Meyer
Oct. 29-Nov. 23, 1974 -- Paintings and Prints by Robert Sivard
Nov. 26-Dec. 21, 1974 -- Paintings by William Palmer
Jan. 7-25, 1975 -- Recent Paintings by Robert Vickrey
Jan. 28-Feb. 22, 1975 -- Paintings and Gouaches by Jason Schoener
Feb. 25-March 22, 1975 -- Watercolor Paintings by William Thon
March 25-April 12, 1975 -- Paintings by Maurice Freedman
Oct. 6-31, 1975 -- Religious Paintings by Fred Nagler at Saint Peter's Gallery, New York City (in cooperation with Midtown Galleries)
Oct. 28-Nov. 22, 1975 -- Paintings by Emlen Etting
Dec. 23-Jan. 17, 1976 -- Richard Mayhew*
Jan. 20-Feb. 14, 1976 -- Paintings by Ethel Magafan
March 16-April 10, 1976 -- Paintings by Edward Betts
April 13-May 10, 1976 -- Selected Works by Paul Cadmus
May 11-28, 1976 -- American Landscapes (William Palmer, Charles Coiner, Robert Vickrey, Waldo Peirce, William Thon, Jason Schoener)
June 1-18, 1976 -- New Talent Festival
Sept. 28-Oct. 23, 1976 -- Paintings of The Hamptons by Margit Varga
Oct. 26-Nov. 20, 1976 -- Paintings by Stephen Etnier
Nov. 2-20, 1976 -- Illustrations by Isabel Bishop for "Pride and Prejudice" by Jane Austen
Nov. 23-Dec. 18, 1976 -- Paintings by Robert Vickrey
Dec. 28-Jan. 22, 1977 -- On Loan from a Private Collection, "Seven Deadly Sins" and "Subway Symphony" by Paul Cadmus
Feb. 22-March 19, 1977 -- Paintings of Artists and Writers in Paris by Robert Sivard
March 22-April 16, 1977 -- Paintings and Watercolors by William Thon
April 19-May 14, 1977 -- Paintings by Maurice Freedman
May 17-June 4, 1977 -- New Talent and Guest Exhibition (Mary L. Buckley, Ruth Cobb, David Cobb Kupferman, Meyer Tannenbaum)
Nov. 1-26, 1977 -- Paintings by Waldo Peirce
Nov. 29-Dec. 24, 1977 -- Paintings by William Palmer
Feb. 28-March 25, 1978 -- Paintings of England, Scotland, Maine by Jason Schoener
March 28-April 22, 1978 -- Drawings and Serigraphs by Gregorio Prestopino
April 25-May 20, 1978 -- Terra Cottas and Bronzes by Fred Meyer
Oct. 31-Dec. 2, 1978 -- Paintings by Charles Coiner
Nov. 28-Dec. 16, 1978 -- Watercolors of Paris Shops, Dublin Pubs, etc. by Robert Sivard
Dec. 5-30, 1978 -- Drawings and Etchings by Isabel Bishop
Jan. 9-Feb. 3, 1979 -- The Seasons (Paintings by William Palmer, Paul Cadmus, William Thon, Hans Moller, Edward Betts, Emlen Etting, Gregorio Prestopino, Richard Mayhew, Maurice Freedman, Waldo Peirce, Jason Schoener, Charles Coiner)
Feb. 6-March 3, 1979 -- Recent Paintings by Stephen Etnier
Oct. 9-Nov. 3, 1979 -- Paintings by Maurice Freedman
Nov. 6-Dec. 1, 1979 -- Watercolors by Gregorio Prestopino
Dec. 4-29, 1979 -- Paul Cadmus, A Small Intimate Retrospective on the Occasion of His Seventy-fifth Birthday
Feb. 5-March 1, 1980 -- Drawings by Emlen Etting
March 4-29, 1980 -- Paintings of Summer in Maine by Jason Schoener
April 29-May 24, 1980 -- Paintings by Bruce Currie
Nov. 4-29, 1980 -- Paintings by Stephen Etnier
Dec. 2-Jan. 3, 1981 -- Paintings by William Thon
Jan. 6-31, 1981 -- Paintings by Ethel Magafan
Feb. 3-28, 1981 -- Watercolors by Ruth Cobb
March 3-28, 1981 -- Paintings by Robert Sivard
Sept. 8-Oct. 3, 1981 -- Self Portraits *
Oct. 6-31, 1981 -- A Fifty Year Drawing Retrospective and Recent Paintings by Isabel Bishop
Dec. 1-Jan. 9, 1982 -- William Palmer: Painting 50 Years
Jan. 19-Feb. 27, 1982 -- Retrospective Exhibition of Selected Paintings, 1932-1982, by Maurice Freedman
March 2-27, 1982 -- Retrospective Exhibition by Margit Varga
March 30-April 24, 1982 -- Midtown Galleries Golden Anniversary, Selected Work by Gallery Artists
April 27-May 22, 1982 -- New Bronzes and Terra Cottas by Fred Meyer
Oct. 5-20, 1982 -- Ruth Cobb: A Selection of Watercolors *
Nov. 2-27, 1982 -- A Twenty Year Retrospective Exhibition by Edward Betts
Jan. 4-29, 1983 -- Recent Paintings and Sculpture by Artists Associated with Midtown Galleries since the Thirties and Forties *
Feb. 1-26, 1983 -- Isabel Bishop: An Intimate Exhibition of Work of the Past Five Years
July 10-Aug. 4, 1983 -- Selected Works of Contemporary American Artists from the Midtown Galleries, New York City [at Fairfield University] *
Oct. 4-30, 1983 -- Paintings, Drawings and Prints by Bernarda Bryson Shahn
Nov. 1-26, 1983 -- Jason Schoener: The Artist's Travels *
Sept. 21-Nov. 5, 1994 -- Paul Tchelitchev: A Reevaluation *
Nov. 11-Dec. 30, 1994 -- Paul Cadmus: Still Lifes, Portraits, Tableaux
Jan. 12-Feb. 25, 1995 -- Jacob Lawrence: An Overview, Paintings from 1936-1994 *
March 2-April 8, 1995 -- Robert Kushner: Mille Fleurs, a Cornucopia of New Paintings *
Below is a list of exhibitions for which the year or date is unknown.
DateExhibitionundated -- Solo Exhibitions, A - Z (by artist)
Jan. 27-Feb. 10 -- Paintings by M. Azzi Aldrich
Nov. 23-Dec. 9 -- Paintings by M. Azzi Aldrich
April 17-May 6 -- Paintings by Saul Berman
Nov. 9-28 -- Paintings by Julien Binford
March 7-23 -- Drawings and Etchings by Isabel Bishop
Oct. 3-15 -- Paintings by Isabel Bishop
Feb. 15-March 4 -- Paintings by Homer Boss
April 18-30 -- Paintings and Watercolors by Homer Boss
Oct. 24-Nov. 17 -- Paintings and Drawings by Paul Cadmus
April 16-29 -- Feminanities, Paintings by Minna Citron
April 27-May 13 -- Paintings by Minna Citron
Dec. 14-25 -- Paintings by Adelaide De Groot
June 8-21 Other -- Exhibition of Drawings of the Philadelphia Stage Door Canteen and Recent Drawings by Emlen Etting
Oct. 23-Nov. 11 -- Paintings and Gouaches by Maurice Freedman
Dec. 26-Jan. 12 -- Paintings of Massachusetts and Pennsylvania by Maurice Freedman
Feb. 1-14 -- Watercolors by Ethel Katz
Oct. 13-31 -- Watercolors by Dong Kingman
Oct. 14-Nov. 1 -- Dong Kingman's Watercolors
undated -- Watercolors by Dong Kingman
June 6-23 -- Building the New York World's Fair, Gouaches and Oil Paintings by Renee Lahm
March 23-April 15 -- New York Murals by Edward Laning
May 22-June 9 -- Drawings of War in Italy by Edward Laning
Oct. 19-Nov. 4 -- Sculpture by Oronzio Maldarelli
Oct. 29-Nov. 17 -- Sculptures in Hammered Metal by Oronzio Maldarelli
March 18-31 -- Paintings and Watercolors by Joseph Margulies
June 2-21 -- Drawings by Fletcher Martin
April 20-May 9 -- Oils, Water Colors, Lithographs, and Drawing by Paul R. Meltsner
April 30-May 18 -- Oils, Tempera, and Lithographs by Paul R. Meltsner
May 24-June 10 -- Oil Paintings and Water Colors by Paul Meltsner
May 14-29 -- Watercolors by Thalia Millett
May 7-27 -- Watercolors by Kaname Miyamoto
May 1-16 -- Paintings by Paul Mommer
Oct. 2-18 -- Paintings by Paul Mommer
Oct. 13-31 -- Paintings by Paul Mommer
Nov. 1-16 -- Paintings by Paul Mommer
May 12-31 -- Paintings by Fred Nagler
Oct. 18-31 -- Paintings by Fred Nagler
Jan. 4-29 -- Iowa Landscapes, Paintings and Watercolors by William C. Palmer
March 24-April 12 -- Recent Wash Drawings by William C. Palmer
Sept. 25-Oct. 14 -- Paintings and Drawings by William Palmer
Dec. 12 -- Paintings by William Palmer
Dec. 3-16 -- Watercolors by Betty Pierson-Parsons
Feb. 15-March 1 -- Paintings and Sculpture by Alzira Peirce
Oct. 4-17 -- Paintings by Alzira Peirce
Jan. 7-25 -- Paintings by Waldo Peirce
March 3-29 -- Paintings, Watercolors, Prints by Waldo Peirce
Aug. 30-Sept. 25 -- Six Year Retrospective Exhibition of Paintings by Waldo Peirce
Nov. 16-Dec. 5 -- Paintings by Waldo Peirce
Nov. 14-Dec. 9 -- Paintings and Drawings by Siegfried Reinhardt
Dec. 12-30 -- Watercolors by Lionel S. Reiss
Nov. 2-14 -- Water Scenes of New York by Saul [Berman]
April 10-25 -- Watercolors by Eugenie Schein
Nov. 1-19 -- Paintings by Anatol Shulkin
Sept. 28-Oct. 12 -- Paintings by Martha Simpson
Jan. 18-Feb. 5 -- Paintings by Jacob Getler Smith
April 9-27 -- Drawings and Watercolors by Jacob Getlar Smith
Dec. 27-Jan. 14 -- Watercolors by Jacob Getlar Smith
Jan. 11-28 -- Paintings by Miron Sokole
Dec. 10-23 -- Gouaches by Miron Sokole
March 2-16 -- Paintings by Isaac Soyer
May 3-21 -- Paintings by Isaac Soyer
March 2-20 -- Paintings by Frederic Taubes
Nov. 27-Dec. 22 -- Recent Paintings by William Thon
undated -- Paintings and Watercolors by William Thon
Feb. 27-March 10 -- Watercolors of Mexico by Edward Valentine
March 22-April 9 -- Sculpture by Arline Wingate
Jan. 14-26 -- Water Colors by E. Helen Young
Group Exhibitions, date or year unknown
DateExhibitionundated -- Group Exhibitions
Feb. 27-March 26 -- Cooperative Exhibition of Contemporary American Art
May 4-31 -- Peggy de Salle Presents Little Gallery's 20th Anniversary: Four Nationally Known Artists, Courtesy Midtown Galleries (Isabel Bishop, Stephen Etnier, Zoltan Sepeshy, William Thon)
June 24-July 30 -- Three Painters from the Midtown, Watercolors, Drawings, Pastels at United Virginia Bank Gallery, Norfolk, Va. (Hans Miller, Jason Schoener, William Thon)
July 31-Aug. 13 -- Contemporary American Artists Associated with Midtown Galleries of New York, Four Fountains, Southampton
Collection Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Midtown Galleries records, 1904-1997. Archives of American Art, Smithsonian Institution
Use of original papers requires an appointment and is limited to the Washington, D.C. research facility. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Tibor de Nagy Gallery records, 1941-1993. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution's Collections Care and Preservation Fund.
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