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Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz

Creator:
Lipchitz, Jacques, 1891-1973  Search this
Names:
Buchholz Gallery (New York, N.Y.)  Search this
Curt Valentin Gallery (New York, N.Y.)  Search this
Bassett, Bruce W.  Search this
Cortois, Jenny  Search this
Frank, Mary, 1933-  Search this
Fry, Annette  Search this
Fry, Varian, 1907-1967  Search this
Gaspard, Leon, 1882-1964  Search this
Hay, Gyorgy  Search this
Ingersoll, R. Sturgis (Robert Sturgis), b. 1891  Search this
Landau, Gregorio  Search this
Larrea, Juan  Search this
Larrea, Marianne  Search this
Lipchitz, Yulla, 1911-  Search this
Modigliani, Amedeo, 1884-1920  Search this
Rapoport, Nathan, 1911-  Search this
Soula, Camille, 1888-  Search this
Starrels, Celeste  Search this
Starrels, Joel  Search this
Wilkinson, Alan G., 1941-  Search this
Zorach, William, 1887-1966  Search this
Extent:
52.8 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Scrapbooks
Sketches
Designs
Date:
circa 1910-2001
bulk 1941-2001
Summary:
The Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz measure 52.8 linear feet and are dated circa 1910-2001, with the bulk of the material from the period 1941-2001. Papers are comprised of sculptor Jacques Lipchitz's personal papers and filmmaker Bruce Bassett's papers relating to Jacques Lipchitz. Lipchitz's personal papers contain personal and professional correspondence, comprising nearly half of the series, and biographical material, writings by and about Lipchitz, printed material, and photographs documenting Lipchitz's commissions, exhibitions, friendships, and interests. Also found are records relating to the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson. The Bruce Bassett papers relating to Jacques Lipchitz consist mainly of Bassett's extensive audiovisual documentation of Lipchitz's life and art. Also found are paper records related to the audiovisual projects, including letters, business records, printed materials, and production records. A small quantity of material unrelated to Lipchitz is also found among the Bassett material, including video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.
Scope and Contents note:
The Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz measure 52.8 linear feet and are dated circa 1910-2001, with the bulk of the material from the period 1941-2001. Papers are comprised of sculptor Jacques Lipchitz's personal papers and filmmaker Bruce Bassett's papers relating to Jacques Lipchitz. Lipchitz's personal papers contain personal and professional correspondence, comprising nearly half of the series, along with biographical material, writings by and about Lipchitz, printed material, and photographs documenting Lipchitz's commissions, exhibitions, friendships, and interests. Also found are records relating to the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson. The Bruce Bassett papers relating to Jacques Lipchitz consist mainly of Bassett's extensive audiovisual documentation of Lipchitz's life and art. Also found are paper records related to the audiovisual projects, including letters, business records, printed materials, and production records. A small quantity of material unrelated to Lipchitz is also found among the Bassett material, including video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.

The Jacques Lipchitz biographical material includes an address book, biographical notes, membership cards, rent receipts and a lease, and a survey of Lipchitz's property in Hastings-on-Hudson, NY.

Correspondence is both professional and personal in nature. Approximately 20 percent is in foreign languages. French predominates, followed by Russian; German, Dutch, Italian, Spanish, Latvian, Hebrew, and Yiddish are also represented.

Professional correspondence documents business transactions with architects, potential clients, museum officials, art dealers, and others concerning commissions, exhibition plans, loans of artwork, jury service, etc. Art groups, Jewish organizations and charities wrote to solicit donations of artwork for fundraising events and issued invitations to speak or be a guest of honor. Scholars contacted Lipchitz about their research and requested information about specific works by him, items in his collection, and his opinions on a variety of subjects. Also found are fan letters from aspiring artists seeking advice, and from the general public asking for the opportunity to meet Lipchitz and visit his studio. After the 1952 studio fire, many friends and strangers sent letters of condolence and encouragement.

Correspondence with wife Yulla, nephew Gyorgy Hay, and close friends recounts personal and family news, activities, and sometimes touches on future plans. Among these correspondents are: Jenny Courtois, Varian and Annette Fry, Leo Gaspard, R. Sturgis Ingersoll, Gregorio Landau, Juan and Marianne Larrea, Camille Soula, and Joel and Celeste Starrels.

Eleven small pocket diaries, 1940-1965, contain brief, often sporadic entries noting appointments, events, addresses and phone numbers, notes of expenses, and include some sketches. Among the other writings by Lipchitz are: a notebook containing random notes on sculpture; a list of sculptures destroyed in the 1952 studio fire; short pieces and fragments of writings about sculptors Mary Frank, Natan Rapoport, Auguste Rodin, and William Zorach; a memoir of Amedeo Modigliani; and articles and reflections on contemporary art and the church.

Catalogue raisonné records concern the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson, sponsored by Marlborough Gallery, Inc.

Among the financial records are statements of the sculptor's accounts with Buchholz Gallery and Curt Valentin Gallery, and receipts for Lipchitz Collection purchases. Also found are insurance and tax records, as well as receipts for routine professional expenses and miscellaneous personal expenses.

Artwork consists of a few rough sketches by Lipchitz and several geometric designs by an unidentified artist. Two scrapbooks, 1945-1946, consist of newspaper clippings and a few items from other periodicals that mention Lipchitz or contain reproductions of his work. Volume 2 includes typescripts of an interview and remarks delivered by Lipchitz, both very brief.

Printed material consists of exhibition catalogs and announcements, articles, press releases, books, programs, and reproductions concerning Lipchitz's exhibitions, sculpture, commissions, and events honoring him. Of particular interest are architectural prints showing sites and project details of several commissions. Also found are a variety of printed items about general art topics.

Photographs document people, artwork, project sites and models, exhibition installations, events, and places. People include Jacques Lipchitz, family members, and other individuals. Artwork represented is by Lipchitz and other artists. Views of Lipchitz exhibition installations mainly document solo shows. Photographs of events record a variety of occasions, among them: the opening of Lipchitz's studio in Hastings-on-Hudson, NY; a dedication ceremony for Philip Johnson's Roofless Church in New Harmony, IN, with ornamental gates and a sculpture by Lipchitz; and Lipchitz addressing an anatomy class at Albert Einstein Medical College. Among the pictures of places are Lipchitz's studios in Hastings-on-Hudson, NY, and Pietrasanta, Italy, and a view of Picasso's Paris studio.

The Bruce Bassett papers relating to Jacques Lipchitz contain mostly audiovisual materials from sound and film documentation projects conducted by Bassett with Lipchitz. Found are original sound recordings and photographs from Deborah Stott's 200 hour oral history with Jacques Lipchitz, as well as detailed, typewritten summaries of its content. Records from Bassett's film projects about Lipchitz include original film and sound recordings from Bassett's 40 hours of interviews with Lipchitz from 1971, and film documentation of the posthumous installations of Lipchitz's large-scale sculptures in Philadelphia, New York, and Israel in the late 1970s. In addition to the raw footage from these projects, which is incomplete, the collection contains workprint and final, edited works Bassett created in multiple versions and formats, and paper records documenting the film projects' creation, production, and later use.

Among the papers related to the film projects are scripts, an index to original footage, programming notes, film lab records, exhibition materials, an extensive collection of questions about Lipchitz gathered from the public for the interactive project, and other production records. Other papers include letters from Lipchitz and his wife, business correspondence, financial records, contracts, project files, and printed materials. Other projects by Bassett, unrelated to Lipchitz, are documented in video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.
Arrangement note:
The collection is arranged as 2 series:

Missing Title

Series 1: Jacques Lipchitz papers, circa 1910-1999, bulk 1941-1999 (Boxes 1-10, OV 11-12; 9.5 linear feet)

Series 2: Bruce Bassett papers concerning Jacques Lipchitz, 1961-2001 (Boxes 13-67, OV 68-69; 43.3 linear feet)
Biographical/Historical note:
Jacques Lipchitz (1891-1973), an internationally known and influential Cubist sculptor, studied in Paris and established his career there. He fled Paris just before the German occupation, arrived in New York City in 1941, and eventually settled in Hastings-on-Hudson, NY.

Chaim Jacob Lipchitz was born in Druskieniki, Lithuania, then part of the Russian empire. His father, a building contractor from a well-to-do Jewish banking family, expected his son to study engineering as preparation for joining the business. Lipchitz, however, aspired to become a sculptor. With financial help from his mother, and determined to pursue his dream, he left for Paris after graduating from high school in 1909. Once there, Chaim Jacob soon became Jacques, the name he used throughout his life.

He first enrolled at the École des Beaux-Arts as a "free pupil." After his father agreed to provide an allowance, Lipchitz transferred to the Académie Julian to study with sculptor Raoul Verlet. He also attended evening drawing classes at the Académie Colarossi. By 1911 he was working in his own studio. Two years later, Lipchitz's entry in the Salon d'Automne received favorable recognition.

In Paris, his circle of friends and acquaintances grew to include Dr. Albert C. Barnes, Constantin Brancusi, Coco Chanel, Jean Cocteau, André Derain, Ernest Hemingway, Max Jacob, Charles-Édouard Jenneret (Le Corbusier), James Joyce, Fernand Léger, André Lhote, Jean Metzinger, Amédée Ozenfant, Pablo Picasso, Diego Rivera, Chaim Soutine, Gertrude Stein, and Virgil Tompson. Juan Gris and Amedeo Modigliani were his closest friends.

Lipchitz's earliest work was traditional. Exposure to Picasso and other avant-garde artists influenced his style, and by 1915 he was producing purely Cubist sculptures. In 1916, dealer Léonce Rosenberg offered Lipchitz a contract with a monthly stipend. Able to afford assistants, Lipchitz began much larger projects. Over time, as he came to feel that angular forms were devoid of humanity, his style gradually changed. In the 1920s, he began experimenting with "transparencies" - delicate abstract forms with large open spaces for which he developed casting techniques that influenced sculpture for a generation. In the 1950s, he began creating "semi-automatics." These were cast in bronze from forms made by submerging hot wax in water, which sometimes incorporated found objects. Much of Lipchitz's later work was massive, dynamic, and incorporated more naturalistic forms.

In the early 1920s, Lipchitz received multiple commissions from Coco Chanel and Dr. Albert C. Barnes. He became a French citizen in 1924, the year he married poet Berthe Kitrosser, with whom he had lived since 1915. (Their double portrait by Modigliani that Lipchitz commissioned in 1916, now titled The Sculptor Jacques Lipchitz and His Wife Berthe Lipchitz, is in the permanent collection of the Art Institute of Chicago). The following year they moved to a suburban home and studio designed by Le Corbusier.

Léonce Rosenberg's Galerie de l'Effort Moderne presented Lipchitz's first solo exhibition in 1930, and the first important Lipchitz exhibition in the United States was held in 1935 at Brummer Gallery, New York. As the sculptor's reputation grew throughout the 1930s, his work was very much in demand.

As World War II approached, Lipchitz sensed the impending horror of the Nazi regime but was extremely reluctant to leave Paris. With time running out, he finally was persuaded that it was too dangerous to stay. Jacques and Berthe Lipchitz departed for the free zone of Toulouse, and with help from American friends sought asylum in the United States. In June of 1941, they arrived in New York City with some clothing, a portfolio of drawings, and very little money.

Lipchitz, a mature artist with an international reputation, soon attracted invitations to teach. Although finances were tight, the offers were rejected because he understood that any commitment would impede his artistic output. In search of a gallery, he contacted Brummer Gallery, the site of his first American show six years earlier. Although Joseph Brummer had shifted his focus to antiques, he provided an introduction to art dealer Curt Valentin of Buchholz Gallery (later Curt Valentin Gallery), who was sincerely interested in modern sculpture. Valentin went on to represent Lipchitz for well over a decade. Curt Valentin Gallery closed in 1955, a year after the owner's death. Lipchitz then became affiliated with Fine Arts Associates and its many successors (Otto Gerson Gallery, Inc., and Marlborough-Gerson Gallery, Inc.), which represented him for the remainder of his life. Marlborough Gallery, Inc. handled Lipchitz's estate.

Berthe longed to go home after the war, and in 1946 the couple returned to France. But because he and France had changed, Lipchitz soon realized that his future lay in America. He returned to New York after seven months; Berthe remained, and a divorce soon followed.

Within the year, Jacques Lipchitz married Yulla Halberstadt, a fellow refugee who was also a sculptor. Their only child, Loyla Rachel, was born in 1948. The family moved to Hastings-on-Hudson, NY in 1949, and he continued to work at his studio on East 23rd Street in New York City. After a major studio fire in early 1952 destroyed commissions in progress and many other pieces, the sculptor set up a temporary work space at Modern Art Foundry, Long Island City, NY. Several museums, collectors, and friends, quickly raised funds for a new studio, which became a loan at Lipchitz's insistence. A new studio designed by Milton Lowenfish and located within walking distance of Lipchitz's Hastings-on-Hudson home opened in 1953.

During the course of his career, Lipchitz was honored with a large number of solo and retrospective exhibitions at major museums and galleries in Europe, North and South America, and Israel. His work is represented in the permanent collections of world renowned museums and is owned by a wide range of private collectors and institutions.

Lipchitz was an avid art collector. An exhibition of Scythian art at the Hermitage Museum, seen while on a brief trip home in 1912, greatly impressed and inspired him. The result was an intense interest in non-European art, especially African art. He began to collect appealing objects from other cultures, and soon developed a life-long habit of visiting flea markets, antique shops, and galleries on a regular basis in search of items for his growing collection. In addition to ethnographic and ancient art, Lipchitz also bought old masters and 19th century art, and developed a special interest in Géricault. The original collection was abandoned when he left Paris; once settled in the United States, he resumed collecting. A substantial portion of the Lipchitz Collection, with an accompanying scholarly catalogue, was exhibited in 1960 at The Museum of Primitive Art, New York City.

Lipchitz's family was observant and he attended Jewish schools that stressed religious education, but he showed little interest in his faith during his early adult life. However, the establishment of Israel affected him profoundly and, over time, religious themes emerged in Lipchitz's work. He began making arrangements for gifts of sculpture to the Bezalel National Museum and the Israel Museum, developed a friendship with Jerusalem's outspoken Zionist mayor, Theodore Kollek, and in 1963 made his first of many visits to Israel.

He was a Chevalier de la Légion d'Honneur, was elected a member of the American Academy of Arts and Letters, and received awards for artistic achievement from the American Institute of Architects, Boston University, and Brandeis University. The Jewish Theological Seminary, New York, presented him an Honorary Doctorate of Laws degree.

Jacques Lipchitz died in Capri, Italy, May 16, 1973, and is buried in Israel. At his death, several large-scale sculpture commissions were left unfinished, and his wife Yulla took over the projects and saw that the installations were accomplished as planned. These posthumous installations include Government for the People, installed in Philadelphia in 1976, Bellerophon Taming Pegasus, installed at the Columbia University School of Law in New York City in 1977, and Our Tree of Life, installed in Jersusalem in 1978.

Bruce Bassett (1925-2009), a television and film producer, worked for NBC in New York for over 20 years. Bassett met the sculptor Jacques Lipchitz (1891-1973) when they were both living in Hastings-on-Hudson, NY. In 1968, Bassett initiated an extensive oral history project when he realized that Lipchitz, as an English speaker and participant in the birth of modernism in Europe, was the only living artist who could provide an oral record of the beginnings of modern art for an English audience.

From 1968, until his death in 2009, Bassett carried out extensive documentation projects regarding Lipchitz, often in his spare time, under the auspices of two organizations he founded: the Jacques Lipchitz Art Foundation (1968-1975) and Histor Systems (circa 1991-2001). In 1968 Bassett raised funds to enable Deborah Stott to travel to Italy and conduct roughly 200 hours of audio interview with Lipchitz, interviews which cover not only his own history, but also include a complete record of the origins of his extensive collection of primitive art, numbering almost 3000 objects at the time. Bassett himself traveled to Italy and filmed nearly 40 hours of additional interviews with Lipchitz in 1971.

Drawing from these filmed interviews, Bassett created a pioneering interactive program which allowed museum-goers to pose questions to Lipchitz and moments later receive answers in the form of video segments of Lipchitz speaking. He used the same footage to write, produce, and direct a one hour documentary, "Portrait of an Artist: Jacques Lipchitz." Both projects were originally presented to the public in tandem with a retrospective exhibition of Lipchitz's sculpture at the Metropolitan Museum in New York in 1972, and were later revised and updated several times for subsequent distribution and presentation. The last presentation of the interactive project documented in Bassett's papers was held at the Krannert Art Museum of the University of Illinois at Urbana-Champaign in 2001. The interactive project is now online at the Israel Museum website entitled "Ask Jacques Lipchitz a Question," a project Bassett had been working on with Hanno Mott at his death. Bassett had visited the Museum several years earlier to demonstrate the video.

Bassett died in 2009 in New York, NY.
Related Archival Materials note:
Interviews with Lipchitz are represented among the following Archives of American Art collections: Brooklyn Museum interviews of artists; KPFK "Art Scene," interviews by Marian L. Gore; Interviews of artists by Brian O'Doherty; and Interviews relating to American Abstract Artists by Ruth Bowman.

The Tate Archive houses the Jacques Lipchitz collection presented by Rubin Lipchitz, with materials dating from the 1910s-1970s and measuring 9.8 linear feet.

The Israel Museum hosts a website entitled "Ask Jacques Lipchitz a Question," which presents Bruce Bassett's entire interactive project of Lipchitz, described here in series 2.5.2, as a web-accessible video project.
Provenance:
Donated in 2010 by Hanno D. Mott, step-son of Jacques Lipchitz, and also on behalf of Loyla R. Lipchitz and Frank L. Mott.
Restrictions:
Use of original papers requires an appointment. Use of audiovisual materials with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Artists' studios -- Photographs  Search this
Genre/Form:
Diaries
Scrapbooks
Sketches
Designs
Citation:
Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz, circa 1910-2001, bulk 1941-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lipcjacq2
See more items in:
Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91b1a0c38-358c-4de5-bef5-2c27f942b166
EDAN-URL:
ead_collection:sova-aaa-lipcjacq2
Online Media:

Oral history interview with Edith Gregor Halpert

Interviewee:
Halpert, Edith Gregor, 1900-1970  Search this
Interviewer:
Phillips, Harlan B. (Harlan Buddington), 1920-  Search this
Names:
C.W. Kraushaar Art Galleries  Search this
Daniel Gallery  Search this
Downtown Gallery (New York, N.Y.)  Search this
Ferargil Galleries  Search this
Grand Central Art Galleries  Search this
M. Knoedler & Co.  Search this
Montross Gallery  Search this
New Gallery (New York, N.Y.)  Search this
Bacon, Peggy, 1895-1987  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Barrie, Erwin S., 1886-1983  Search this
Benton, Thomas Hart, 1889-1975  Search this
Brackman, Robert, 1898-  Search this
Bridgman, George Brant, 1864-1943  Search this
Brixey, Richard de Wolfe  Search this
Cahill, Holger, 1887-1960  Search this
Calder, Alexander, 1898-1976  Search this
Cary, Elisabeth Luther, 1867-1936  Search this
Chase, William Merritt, 1849-1916  Search this
Coleman, Glenn O., 1887-1932  Search this
Crowninshield, Frank, 1872-1947  Search this
Daniel, Charles, 1878-1971  Search this
Davis, Stuart, 1892-1964  Search this
Demuth, Charles, 1883-1935  Search this
Deskey, Donald, 1894-  Search this
Dove, Arthur Garfield, 1880-1946  Search this
Dudensing, F. Valentine, 1892-1967  Search this
Fergusson, John Duncan, 1874-1961  Search this
Field, Hamilton Easter  Search this
Force, Juliana, 1876-1948  Search this
Ford, Ford Madox, 1873-1939  Search this
Frost, Robert, 1874-1963  Search this
Fuller, R. Buckminster (Richard Buckminster), 1895-1983  Search this
Goodyear, A. Conger (Anson Conger), 1877-1964  Search this
Greenberg, Clement, 1909-1994  Search this
Halpert, Samuel, 1884-1930  Search this
Hartley, Marsden, 1877-1943  Search this
Hirsch, Stefan, 1899-1964  Search this
Hopkinson, Charles, 1869-1962  Search this
Hopper, Edward, 1882-1967  Search this
Johns, Jasper, 1930-  Search this
Kline, Franz, 1910-1962  Search this
Knox, Seymour H., 1898-1990  Search this
Kroll, Leon, 1884-1974  Search this
Kuhn, Walt, 1877-1949  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Laurent, Robert, 1890-1970  Search this
Lawrence, Jacob, 1917-2000  Search this
Levine, Jack, 1915-2010  Search this
Levy, Julien  Search this
Locke, Charles, 1899-  Search this
Luks, George Benjamin, 1867-1933  Search this
Léger, Fernand, 1881-1955  Search this
Marin, John, Jr., 1915?-1988  Search this
McBride, Henry, 1867-1962  Search this
Mellon, Paul  Search this
Mercer, Henry Chapman  Search this
Montross, N. E. (Newman E), 1849-1932  Search this
Noguchi, Isamu, 1904-1988  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Pascin, Jules, 1885-1930  Search this
Picasso, Pablo, 1881-1973  Search this
Pollock, Jackson, 1912-1956  Search this
Pound, Ezra, 1885-1972  Search this
Rivera, Diego, 1886-1957  Search this
Robinson, Edward G., 1893-1973  Search this
Rockefeller, Abby Aldrich  Search this
Saarinen, Aline B. (Aline Bernstein), 1914-1972  Search this
Saklatwalla, Beram K.  Search this
Sandburg, Carl, 1878-1967  Search this
Shahn, Ben, 1898-1969  Search this
Sheeler, Charles, 1883-1965  Search this
Siporin, Mitchell, 1910-1976  Search this
Soutine, Chaim, 1893-1943  Search this
Steichen, Edward, 1879-1973  Search this
Stein, Gertrude, 1874-1946  Search this
Stella, Frank  Search this
Stern, Louis E., 1886-1962  Search this
Stieglitz, Alfred, 1864-1946  Search this
Tannahill, Robert Hudson  Search this
Vollard, Ambroise, 1867-1939  Search this
Weber, Max, 1881-1961  Search this
Whitney, Gertrude Vanderbilt, 1875-1942  Search this
Williams, William Carlos, 1883-1963  Search this
Wittenberg, Philip, 1895-1987  Search this
Zerbe, Karl, 1903-1972  Search this
Zorach, Marguerite, 1887-1968  Search this
Zorach, William, 1887-1966  Search this
Extent:
436 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Date:
1962-1963
Scope and Contents:
An interview of Edith Halpert conducted 1962-1963, by Harlan Phillips, for the Archives of American Art.
Halpert speaks of her childhood in Russia and growing up in New York City; working at Bloomindale's, Macy's, Stern Brothers, and Cohen Goldman; her marriage to artist Sam Halpert, his health, and living in Paris in 1925; becoming an art student at the Academy of Design and feeling that Leon Kroll was an excellent art teacher until he began to correct her drawings; when George Bridgman thought she was ruining his class; the Lincoln Square Arcade, when she and Ernest Fiener and Robert Brackman would rent Conan's studio evenings and bring in instructors; how Newman Montross influenced her more than anybody about showing her art that she loved; burning all of her work because Kroll said she had no talent; receiving a painting from John Marin; her friendship and working relationship with Abby Rockefeller and other family members.
She recalls opening the Downtown Gallery, in Greenwich Village, in 1926; a brief history of modern art; many artists helping decorate the new Daylight Gallery in 1930 and the first show being called "Practical Manifestations of Art"; meeting Robert and Sonia Delaunay in France; when she refused to allow Ezra Pound to speak at one of the gallery lectures because of his anti-Semite remarks and William Carlos Williams and Ford Madox Ford argued with her over it; experiencing jealousy and professional attacks from other dealers; the successful "Pop" Hart show and book in 1929; the "Thirty-three Moderns" show in 1930 at the Grand Central Galleries; the Jules Pascin show in 1930; in America, most of the art buyers supporters of culture were women, until the WPA and World War II, when it became fashionable for men to be involved; Ambroise Vollard's advice on selling art; handling the frustrations of working in the art field; friendships with Stuart Davis,Charles Sheeler, and Ben Shahn; how artists work through dry periods in their creativity and the "Recurrent Image" show; a discussion on modern art galleries of New York City, such as Daniel, Knoedler, Ferargil, the New Gallery, 291, the Grand Central, Kraushaar, and Montross; her travels through Pennsylvania and Maine for good examples of folk art for the gallery; the "The Artist Looks at Music" show; the non-competitive spirit of the early modern American artists; of being saved financially in 1940 by selling a William Harnett painting to the Boston Museum and then renting new space for the gallery.
Also, Mitchell Siporin bringing Halpert and Edmund Gurry to Mitchell Field during World War II for a camouflage show and consequently Downtown Gallery artists and others were enlisted in the camouflage corps for the U.S. Air Force; Charles Sheeler and his wife find Halpert a house in Newtown, Conn.; her decision in 1933 to push folk art for acquisition by the William Rockhill Nelson Gallery in Kansas City, Missouri; her great concern about what to do with her folk art literature collection; dismay and that no one writes about the history of folk art and those responsible for its creation and popularity; Louis Stern hiring her to organize a municipal exhibit in Atlantic City, N.J., with Donald Deskey designing the furniture and Holger Cahill managing the publicity; Joe Lillie helping her meet Fiorello La Guardia and Joe McGoldrick in 1934 about a municipal show in New York City, but it is moved to Radio City Music Hall through Nelson Rockefeller; the "Salons of America" show; wanting articles written about art for love rather than art for investment; working with Aline Saarinen on her book, "Proud Possessors;" letters from Stuart Davis, William Zorach and others that hurt her feelings; enjoying giving educational lectures and considering retirement because of ill health; the desire to write a book on the history of trade signs in folk art; feeling that the young artists are being ruined by too much support without working for it; planning to write a book entitled, "Unsung Heroes," about artists brave enough to experiment; organizing a show in Russia at her own expense; later representing the U.S. in art at the "American National Exposition"; the agitators and success of the exposition; Alfred Stieglitz and Georgia O'Keeffe.
Halpert also recalls Juliana Force, Gertrude Vanderbilt Whitney, Yasuo Kuniyoshi, Buckminster Fuller, George Luks, Edsel Ford, Max Weber, Danny Diefenbacker, Hamilton Easter Field, Frank Stella, Glenn Coleman, Margaret Zorach, Diego Rivera, Frida Kahlo, Henry Mercer, Romany Marie, Edward G. Robinson, Paul Mellon, Charles Pollet, Alex Brook, Lunca Curass, Dorothy Lambert, Duncan Candler, Frank Rhen, Louis Rittman, Bea Goldsmith, Arthur Craven, Robert Frost, Philip Wittenberg, Caesar de Hoke, Richard deWolfe Brixey, Seymour Knox, Walt Kuhn, Elisabeth Luther Cary, Charles Locke, Duncan Fergusson, Mrs. Solomon Guggenheim, Bob Tannahill, David Thompson, Marsden Hartley, Erwin Barrie, Robert Laurent, Conger Goodyear, Henry McBride, Edward Hopper, Charles Daniel, William Merritt Chase, Charles Hopkinson, Thomas Hart Benton, Frank Crowninshield, Alfred Barr, Lord Duveen, Jacob Lawrence, John Marin Jr., Karl Zerbe, Franz Kline, Arthur Dove, Julian Levy, Jack Levine, Valentine Dudensing, Peggy Bacon, Stefan Hirsch, Gertrude Stein, Isamu Noguchi, Jasper Johns, Chaim Soutine, B. K. Saklatwalla; Fernand Leger, Pablo Picasso, Ben Shahn, Charles Demuth, Alexander Calder, Jackson Pollock, Edward Steichen, Carl Sandburg, Clement Greenberg, and others.
Biographical / Historical:
Edith Halpert (1900-1970) was an art dealer from New York, N.Y.
General:
Originally recorded on 7 tape reels. Reformatted in 2010 as 27 digital wav files. Duration is 32 hrs., 27 min.
Provenance:
This interview is part of the Archives of American Art History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others. The transcript was microfilmed in 1996.
Occupation:
Art dealers -- New York (State) -- New York  Search this
Topic:
Art -- Economic aspects  Search this
Camouflage  Search this
Folk art -- Collectors and collecting  Search this
Women art dealers  Search this
Identifier:
AAA.halper62
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94b057b9a-c3f9-4586-8d44-ee2d58857127
EDAN-URL:
ead_collection:sova-aaa-halper62
Online Media:

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

Oral history interview with Edith Gregor Halpert, 1962-1963

Interviewee:
Halpert, Edith Gregor, 1900-1970  Search this
Interviewer:
Phillips, Harlan B., 1920-,  Search this
Subject:
Bacon, Peggy  Search this
Barr, Alfred H., Jr.  Search this
Barrie, Erwin S.  Search this
Benton, Thomas Hart  Search this
Brackman, Robert  Search this
Bridgman, George Brant  Search this
Brixey, Richard de Wolfe  Search this
Cahill, Holger  Search this
Calder, Alexander  Search this
Cary, Elisabeth Luther  Search this
Chase, William Merritt  Search this
Coleman, Glenn O.  Search this
Crowninshield, Frank  Search this
Daniel, Charles  Search this
Davis, Stuart  Search this
Demuth, Charles  Search this
Deskey, Donald  Search this
Dove, Arthur Garfield  Search this
Dudensing, F. Valentine  Search this
Fergusson, John Duncan  Search this
Field, Hamilton Easter  Search this
Force, Juliana  Search this
Ford, Ford Madox  Search this
Frost, Robert  Search this
Fuller, R. Buckminster (Richard Buckminster)  Search this
Goodyear, A. Conger (Anson Conger)  Search this
Greenberg, Clement  Search this
Halpert, Samuel  Search this
Hartley, Marsden  Search this
Hirsch, Stefan  Search this
Hopkinson, Charles  Search this
Hopper, Edward  Search this
Johns, Jasper  Search this
Kline, Franz  Search this
Knox, Seymour H.  Search this
Kroll, Leon  Search this
Kuhn, Walt  Search this
Kuniyoshi, Yasuo  Search this
Laurent, Robert  Search this
Lawrence, Jacob  Search this
Léger, Fernand  Search this
Levine, Jack  Search this
Levy, Julien  Search this
Locke, Charles  Search this
Luks, George Benjamin  Search this
Marin, John, Jr.  Search this
McBride, Henry  Search this
Mellon, Paul  Search this
Mercer, Henry Chapman  Search this
Montross, N. E. (Newman E)  Search this
Noguchi, Isamu  Search this
O'Keeffe, Georgia  Search this
Pascin, Jules  Search this
Picasso, Pablo  Search this
Pollock, Jackson  Search this
Pound, Ezra  Search this
Rivera, Diego  Search this
Rockefeller, Abby Aldrich  Search this
Robinson, Edward G.  Search this
Saarinen, Aline B. (Aline Bernstein)  Search this
Saklatwalla, Beram K.  Search this
Sandburg, Carl  Search this
Shahn, Ben  Search this
Sheeler, Charles  Search this
Siporin, Mitchell  Search this
Soutine, Chaim  Search this
Steichen, Edward  Search this
Stein, Gertrude  Search this
Stella, Frank  Search this
Stern, Louis E.  Search this
Stieglitz, Alfred  Search this
Tannahill, Robert Hudson  Search this
Vollard, Ambroise  Search this
Weber, Max  Search this
Wittenberg, Philip  Search this
Whitney, Gertrude Vanderbilt  Search this
Williams, William Carlos  Search this
Zerbe, Karl  Search this
Zorach, William  Search this
Zorach, Marguerite  Search this
C.W. Kraushaar Art Galleries  Search this
Daniel Gallery  Search this
Downtown Gallery (New York, N.Y.)  Search this
Ferargil Galleries  Search this
Grand Central Art Galleries  Search this
M. Knoedler & Co.  Search this
Montross Gallery  Search this
New Gallery (New York, N.Y.)  Search this
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Edith Gregor Halpert, 1962-1963. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Economic aspects  Search this
Camouflage  Search this
Folk art -- Collectors and collecting  Search this
Women art dealers  Search this
Record number:
(DSI-AAA_CollID)13220
(DSI-AAA_SIRISBib)214627
AAA_collcode_halper62
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_214627
Online Media:

Cleve Gray papers

Creator:
Gray, Cleve  Search this
Names:
Berry-Hill Galleries  Search this
Betty Parsons Gallery  Search this
Connecticut. Commission on Arts, Tourism, Culture, History and Film  Search this
Jacques Seligmann & Co  Search this
Neuberger Museum of Art  Search this
Pratt Institute  Search this
Princeton University  Search this
Rhode Island School of Design  Search this
Barzun, Jacques, 1907-  Search this
Calder, Alexander, 1898-1976  Search this
Davis, Jim, 1901-1974  Search this
Dillenberger, Jane  Search this
Duchamp, Marcel, 1887-1968  Search this
Ernst, Jimmy, 1920-1984  Search this
Gabo, Naum, 1890-1977  Search this
Grace, Louise N.  Search this
Gray, Francine du Plessix  Search this
Lipchitz, Jacques, 1891-1973  Search this
Marin, John, 1870-1953  Search this
Pollock, Jackson, 1912-1956  Search this
Richter, Hans, 1888-1976  Search this
Smith, David, 1906-1965  Search this
Villon, Jacques, 1875-1963  Search this
Weber, Nicholas Fox, 1947-  Search this
Extent:
9.2 Linear feet
Type:
Collection descriptions
Archival materials
Poems
Articles
Photographs
Reviews (documents)
Notes
Illustrations
Notebooks
Sketches
Drafts (documents)
Video recordings
Sound recordings
Interviews
Manuscripts
Paintings
Prints
Watercolors
Drawings
Lectures
Date:
1933-2005
Summary:
The Cleve Gray papers, 1933-2005, measure 9.2 linear feet. Papers include biographical material, alphabetical files, writings, artwork, audio/visual records, artifacts, printed material, and photographs. Extensive alphabetical files contain personal and professional correspondence as well as subject files relating to projects and interests. Especially well-documented are: Gray's involvement with the Vietnam protest movement; and Threnody, his best-known work composed of fourteen large panels lamenting the dead of both sides sides in Vietnam, commissioned by the Neuberger Museum of Art.
Scope and Content Note:
The Cleve Gray papers, 1933-2005, measure 9.2 linear feet. Papers include biographical material, alphabetical files, writings, artwork, audio/visual records, artifacts, printed material, and photographs. Extensive alphabetical files contain personal and professional correspondence as well as subject files relating to projects and interests. Especially well-documented are: Gray's involvement with the Vietnam movement; and Threnody, his best-known work composed of fourteen large panels lamenting the dead of both sides sides in Vietnam, commissioned by the Neuberger Museum of Art.

Among the biographical material are award and membership certificates, biographical notes, and personal documentation.

The alphabetical files contain Cleve Gray's personal and professional correspondence, as well as subject files relating to projects and interests. Correspondence is with friends and family, colleagues, publishers, museum curators and directors, art dealers, collectors, and fans. Among the correspondents of note are: Jacques Barzun, James E. Davis, Naum Gabo, Louise N. Grace, Hans and Fridel Richter, and Jacques and Gaby Villon. Other substantial correspondence includes: Berry-Hill Galleries, Betty Parsons Gallery, Connecticut Commission on the Arts, Jacques Seligmann and Co., Neuberger Museum of Art, Pratt Institute, Princeton University, and Rhode Island School of Design. Subject files mostly consist of correspondence, but include printed material and some photographs. Among the subject files are: Art Collection of Cleve and Francine Gray, Artist-Dealer Consignments and Visual Artists' Rights Act of 1989, Artists' Tax Equity Act of 1979, Promised Gifts to Museums, Threnody, Vestments, and Vietnam Protest. Of particular interest are files relating to the Estate of Hans Richter (Cleve Gray, executor), and Gray's research correspondence and illustrations for his Cosmopolitan article "Women-Leaders of Modern Art."

Writings are manuscripts and drafts, research materials, notes, and miscellaneous writings by Cleve Gray and other authors. Those by Gray include articles and catalog introductions on a wide range of art-related topics, as well as book and exhibition reviews. Also found are a book proposal, texts and notes for lectures and talks, miscellaneous notes, poems, political statements, and student papers. Of particular interest are autobiographical notes in the form of a chronology that his biographer, Nicholas Fox Weber, cited as an "autochronology."

Among the writings by other authors are pieces about Cleve Gray including Nicholas Fox Weber's manuscript Cleve Gray. A significant amount of material relates to three books edited by Gray: David Smith by David Smith: Sculpture and Writings, Hans Richter, and John Marin. Research material survives for an unpublished volume, Naum Gabo. Also included are notes relating to his translation of A l'Infinitif by Marcel Duchamp. Jane Daggett Dillenberger is represented by a lecture, "The Resurrection in Art." The remaining items by other authors are unsigned; of particular interest is a small notebook of reminiscences and notes about Jackson Pollock.

Artwork by Cleve Gray consists mostly drawings and sketches, and a small number of paintings, prints, and watercolors. Works by other artists consist are an unsigned mobile of paper cut-outs, possibly by Alexander Calder, and a pencil drawing signed Dick (probably Richard Avedon).

Audio recordings are a radio broadcast featuring Cleve Gray, several lectures by Gray on John Marin, and a lecture titled "Meaning in the Visual Arts." Other recordings are of Hans Richter and an interview with Jimmy Ernst conducted by Francine du Plessix Gray. Also found is a videocassette of "Glenville School Students at SUNY (Lincoln Center Activity)."

Artifacts are a Chinese scroll representative of those that hung in Cleve Gray's studio, two of his paintbrushes, Aberdeen-Angus Breeders' Association blue ribbon, and Neuberger Museum of Art Lifetime Achievement Award.

The vast majority of printed material - articles, clippings, exhibition catalogs and announcements, reproductions of art work, etc. - are about or by Cleve Gray. Miscellaneous items and publications mentioning Gray consist of annual reports, brochures, calendars, newsletters, programs, etc. Clippings about Vietnam and Vietnam protest memorabilia reflect his passionate involvement in the anti-war movement; a small number of these items mention Gray or were written by him.

Photographs are of artwork, events, people, places, and miscellaneous subjects. Most of the art work appearing in the photographs is by Cleve Gray and includes images of destroyed paintings. Also found is an original print of Photo Abstraction by Gray, circa 1934. Of particular note are photographs of Threnody, among them preparatory drawings and views of the work in progress. Photographs of artwork by other artists include Louise N. Grace, Jacques Lipchitz, John Marin, Hans Richter, and Jacques Villon.

Photographs of people are mainly portraits of Gray, and views of him with his wife and sons. Other individuals appearing in photographs are Hans Richter and some of Richter's descendants. Pictures of places consist of Gray's studio.

Events are an unidentified exhibition opening. Miscellaneous subjects are mostly exhibition installations. Illustrations consist of photographs published in David Smith by David Smith: Sculpture and Writings. Also found are small number of negatives and color transparencies.
Arrangement:
The collection is organized into 8 series:

Missing Title

Series 1: Biographical Material, 1943-circa 2001 (Box 1; 0.1 linear ft.)

Series 2: Alphabetical Files, 1936-2005 (Boxes 1-5, 9; 4.3 linear ft.)

Series 3: Writings, 1935-2000 (Boxes 5-6; 0.85 linear ft.)

Series 4: Artwork, circa 1933-1987 (Boxes 6, 9, OV 12; 0.45 linear ft.)

Series 5: Audio/Visual Records, 1971-1989 (Box 6; 0.25 linear ft.)

Series 6: Artifacts, 1957-1999 (Box 6, RD 11; 0.45 linear ft.)

Series 7: Printed Material, 1933-2005 (Boxes 7-8; 1.25 linear ft.)

Series 8: Photographs, circa 1934-2002 (Boxes 8-10; 1.15 linear ft.)
Biographical Note:
Abstract Expressionist painter, sculptor, and writer Cleve Gray (1918-2004) lived and worked in Connecticut where he was politically active in the Vietnam protest movement and other liberal causes.

Born Cleve Ginsberg in New York City (the family changed its name to Gray in 1936), he attended the Ethical Culture School and at a young age developed a fascination with color and paint. At the urging of friends, Cleve's parents allowed him to accompany a school friend for lessons with George Bellows' student Antonia Nell. She encouraged and inspired the young artist, and a still life he painted in her class was shown at the National Academy of Design's 1932 annual exhibition. Miss Nell also introduced him to Louise N. Grace, an artist who became a good friend and had a lasting influence on him. While a student at Phillips Academy, Cleve studied painting with Bartlett Hayes and aspired to paint in France. Upon his graduation in 1936, he was awarded the Samuel F. B. Morse Prize for most promising art student.

Gray's mother was always supportive of his career choice. His businessman father, who didn't understand his son's desire to be an artist, insisted on a college education. Cleve chose Princeton, where he majored in art and archaeology, and studied painting with James E. Davis. His senior thesis was on Chinese landscape painting; both Eastern philosophy and art were long-term influences on Gray's work and outlook. He graduated summa cum laude in 1940, and then spent several months painting while living at the farm of a family friend in Mendham, New Jersey.

When a doctor suggeted that a dry climate might relieve sinus and asthma problems, Gray moved to Tucson, Arizona. Once settled in the desert, he contacted Louise N. Grace, whom he had met as a young teenager through his art instructor. Miss Grace, an artist and daughter of the founder of W. R. Grace and Co., was a highly cultured and independent woman older than his parents. The summer before Gray entered Phillips Academy, she had hired him to brush ground color onto canvases for murals she was painting for "Eleven Arches," her home in Tuscon then under construction. Miss Grace invited Gray to visit "Eleven Arches" to see the completed murals, and despite the substantial age difference, their friendship deepened; Gray found in her intellectual and spiritual guidance that was lacking in his own family. He remained in Tucson until enlisting in the U. S. Army in 1942, and they corresponded frequently during the the war. When a stroke in 1948 prevented Miss Grace from participating in the extensive tour of Europe she was arranging for a small group of friends, including Gray, she provided sufficient funds and insisted he make the trip on his own. Another stroke, suffered while Gray was traveling, left her in a coma; he was not permitted to see her again. Upon her death in 1954, Gray inherited "Eleven Arches."

Between 1943 and 1946, Gray was stationed in England, France, and Germany, serving in Army Signal Intelligence. Most of his work was performed at night, and he spent his free time drawing. While in London, Gray produced many colored pencil drawings of buildings that had been bombed. In France, a Red Cross volunteered to introduce him to Jacques Villon; although unfamiliar with the artist, Gray knew of Villon's brother, Marcel Duchamp, and accepted the invitation. Jacques and Gaby Villon lived near Gray's billet and he became a frequent visitor. Their friendship was important to his development as an artist. After being discharged from the Army in 1946, Gray remained in France to work with Villon who introduced him to the study of color and the concept of intellectual quality in painting. Gray also studied informally with André Lhote, Villon's former teacher. "American Painters in Paris," an exhibition presented in 1946 at Galerie Durand-Ruel, included work by Cleve Gray.

He returned to New York City in 1946. In the tight post-war rental market Gray managed to find a small room upstairs from a grocery store on East 106th Street for use as a studio. He commenced painting the London Ruins series based on drawings he had made during the war, and began thinking about exhibiting in New York. Gray secured introductions to Pierre Matisse, Curt Valentin, and Dorothy Miller. They encouraged him, but no opportunities came his way until Germain Seligmann, whose gallery was expanding its scope to include contemporary art, followed the advice of Curt Valentin and looked at Gray's work. Gary's first solo exhibition, held at Jacques Seligmann and Co., included selections from the London Ruins series, paintings done in Maine and Arizona, and a few portraits. The New York Times called it "an auspicious first," and one of the London Ruins series was selected by Edward Alden Jewell for the "Critic's Exhibition" at Grand Central Gallery.

Gray found New York City too frenetic. In 1949 he bought a large, old house in Warren, Connecticut, and lived and worked at "Graystones" for the remainder of his life. Half of a 6-car garage was converted to a studio; many years later, his studio moved to a barn, its renovation and design planned by sculptor and architect Tony Smith.

He married Francine du Plessix in 1957. Always interested in literature and philosophy, in the 1960s Francine du Plessix Gray began contributing articles to The New Yorker and is still affiliated with the magazine. Her reviews and articles appeared in prominent publications, and she wrote several award-winning novels and biographies. Their sons, Thaddeus and Luke (now a painter), were born in 1959 and 1961. Francine's mother, Tatiana du Plessix (the hat designer Tatiana of Saks), and step-father, the sculptor Alexander Liberman (also former art director of Vogue and later editorial director of Condé Nast publications) became Cleve Gray's closest friends.

The paintings and drawings of Cleve Gray - first consisting of figures and portraits, and then abstract compositions - were often produced in series. The earliest series, London Ruins, grew from the colored pencil drawings made while stationed in London during World War II. Travels to France, Italy, Greece, Morocco, Hawaii, Spain, Egypt, Japan, and Czechoslovakia, inspired many series, among them: Etruscan, Augury, Ceres, Demeter Landscape, Hera, Morocco, Hawaii, Ramses, Perne, Hatshepsut, Roman Walls, Zen, and Prague. His hometown, the Holocaust, and musicians inspired other series: Warren, Sleepers Awake!, Bela Bartok, and Four Heads of Anton Bruckner. Some series were works on paper, others were collage canvases, and a few series later spawned prints. Gray began using acrylics in the 1940s. Although the medium offered many benefits, he did not always like its appearance and frequently returned to oils. Around 1966 Gray was painting almost exclusively with acrylic, and eventually developed a technique of thinning the paint and applying successive layers of color (sometimes by pouring or with a sponge) on cotton duck rather than traditional canvas.

Gray was attracted to sculpture, too, working in that medium at different points in his career. His first sculpture, in plaster, was completed in 1959. In the early 1960s he visited a commercial sand-casting foundry and became excited about learning to cast in bronze. He made about a dozen sculptures to cast in sand, but due to too much undercutting, their casting became too difficult a problem. Lava flows seen while in Hawaii during 1970 and 1971 inspired a return to sculpture. This time, he used wood, papier maché, and metal. Gray then decided these pieces should be cast in bronze, and he was determined to do it himself. Friends taught him the lost wax process and he began working at the Tallix Foundry in Peekskill, New York where, over the next year, he cast about forty bronzes.

Gray's best known work is Threnody, a lament for the dead of both sides in Vietnam. In 1972, Gray received a commission to fill a very large gallery of the soon-to-open Neuberger Museum of Art (State University of New York, College at Purchase) designed by Philip Johnson. Friends of the Neuberger Museum paid his expenses and Gray, who was enormously excited about the project he considered a once-in-a-lifetime opportunity, donated his time. Developing plans for the execution of Threnody consumed most of his time during 1972 and 1973. Composed of a series of fourteen panels, each approximately twenty feet square, the piece presented a number of technical challenges. It was constructed and painted in situ during the summer and early fall of 1973. Since then, Threnody has been reinstalled at the Neuberger Museum of Art on several occasions.

Gray was commissioned to design liturgical vestments for two Episcopal churches in Connecticut in the 1970s. A chasuble, stoles, and a mitre were commissioned by the Episcopal Diocese of Connecticut in 1984.

He won the "Outdoor Art at the Station Competition," for Union Station, Hartford, Connecticut. His very large porcelain enamel tile mural, Movement in Space, was installed on the façade of the transportation center in 1988.

Gray began writing occasional articles and exhibition reviews in the late 1940s. His concern with rational structure in art led him to question Abstract Expressionism and write "Narcissus in Chaos." This article, published in 1959 by The American Scholar, drew considerable attention. In 1960, Cosmopolitan published "Women - Leaders of Modern Art" that featured Nell Blaine, Joan Brown, Elaine de Kooning, Helen Frankenthaler, Sonia Gretchoff, Grace Hartigan, Ethel Magafan, Louise Nevelson, and Georgia O'Keeffe. Between 1960 and 1970, Gray was a contributing editor of Art In America, producing numerous articles (a few co-authored with Francine) and reviews for the periodical. He edited three books, David Smith by David Smith: Scupture and Writings, Hans Richter, and John Marin, all published by Holt, Rinehart, and Winston, and translated Marcel Duchamp's A l'Infinitif.

During the early 1960s, Gray became intensely focused on the situation in Vietnam. His first artistic response came in 1963 with Reverend Quan Duc, painted to commemorate a Buddhist monk who had immolated himself. Francine, too, felt strongly about the issue and over time the couple became increasingly active in the anti-war movement. They joined a number of organizations and helped to found a local chapter of Clergy and Laymen Concerned about Vietnam. The years 1968 and 1969 were an especially intense and active period for the Grays. They protested, wrote and spoke out against the war, raised funds to support anti-war political candidates, and on a few occasions were arrested and jailed. Writing for Art in America, editing the book series, and anti-war activities left little time for his art. In 1970 Gray refocused his attention on painting.

Beginning in 1947, Gray was always represented by a New York Gallery: Jacques Seligmann and Co. (1947-1959), Staempfli Gallery (1960-1965), Saidenberg Gallery (1965-1968), Betty Parsons Gallery (1968-1983), Armstrong Gallery (1984-1987), and Berry-Hill Galleries (1988-2003). He was represented by galleries in other cities, as well, but not as consistently or for such long periods.

He exhibited extensively in group and solo exhibitions throughout the United States and internationally. In addition to numerous solo exhibitions presented by the dealers who represented Gray, there were retrospective exhibitions at: Albright-Knox Art Gallery, Brooklyn Museum, Columbus Museum of Art, Krannert Art Museum (University of Illinois, Champaign), Princeton University Art Museum, Rhode Island School of Design, and Wadsworth Atheneum.

Many museums' permanent collections include the work of Cleve Gray, among them: Albright-Knox Art Gallery, Butler Institute of American Art, Columbus Museum of Art, Neuberger Museum of Art (SUNY, College at Purchase), the Museum of Modern Art (New York), Newark Museum, Oklahoma City Museum of Art, Phillips Collection, Sheldon Memorial Art Gallery (University of Nebraska, Lincoln), Smithsonian Institution, Solomon R. Guggenheim Museum, Whitney Museum of American Art, and Yale University Art Gallery.

Cleve Gray served as artist-in-residence at the Oklahoma City Museum of Art in 1963 and at the Honolulu Academy of Arts in 1970, both sponsored by Ford Foundation programs. In 1980, he was appointed an artist-in-residence at the American Academy in Rome, where Francine concurrently served as a writer-in-residence; they returned for shorter periods during each of the subsequent seven years. Cleve Gray was presented the Connecticut Arts Award in 1987, and the Neuberger Museum of Art Lifetime Achievement Award in 1999. He was awarded an honorary degree by the University of Hartford in 1992, and was elected a member of The American Academy of Arts and Letters in 1998. In addition, he was a trustee of the Neuberger Museum of Art, New York Studio School, Rhode Island School of Design, and Wadsworth Atheneum.

Cleve Gray hit his head and suffered a massive subdural hematoma after falling on ice outside of his home. He died the following day, December 8, 2004.
Separated Material:
Exhibition catalogs and announcements and two scrapbooks donated to the Archives in 1967 and 1968 were microfilmed on reels D314-D315. Items on reel D315, transferred to the Smithsonian American Art Museum Library in 1975, are not described in this finding aid.
Provenance:
The Cleve Gray papers were donated to the Archives of American Art by Mr. Gray in 1967 and 1968. The bulk of the collection was given by his widow, Francine du Plessix Gray, in 2007 and 2008.
Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordigs with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- Connecticut  Search this
Painters -- Connecticut  Search this
Topic:
Art, Modern -- 20th century -- United States  Search this
Vietnam War, 1961-1975 -- Protest Movements -- United States  Search this
Designers  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Genre/Form:
Poems
Articles
Photographs
Reviews (documents)
Notes
Illustrations
Notebooks
Sketches
Drafts (documents)
Video recordings
Sound recordings
Interviews
Manuscripts
Paintings
Prints
Watercolors
Drawings
Lectures
Citation:
Cleve Gray papers, 1933-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.grayclev
See more items in:
Cleve Gray papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92d3d47d0-baa3-4085-80f2-9b5d1730c052
EDAN-URL:
ead_collection:sova-aaa-grayclev
Online Media:

Joseph Cornell Study Center Collection

Artist:
Cornell, Joseph  Search this
Names:
Benton, Elizabeth Cornell  Search this
Cornell, Robert  Search this
Extent:
196.8 Linear feet
186 Nitrate negatives
Type:
Collection descriptions
Archival materials
Nitrate negatives
Photographic photoprints
Photographs
Place:
New York, New York
Date:
1750-1980, bulk 1930-1972
Summary:
The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.
Scope and Contents:
The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.

Correspondence is with collectors, museums, galleries, artists, friends, family, charity organizations, admirers and those admired by Cornell, and World War II European pen pals. Discussions about the appreciation, donation, sale, purchase, and exhibition of Cornell's works are frequent, with the inclusion of shipping and loan documentation or notices of payment installments. Galleries and museums frequently request that Cornell agree to an exhibition, which he often declines, and fans request free works be mailed or affordable works be sold to them. With friends, artists, and those he admired, Cornell discussed topics that fascinate him, included bits of poetry or philosophical musings, sent clippings or a collaged letter, and occasionally discussed a project or work in process. After World War II, when so many were displaced by the war in Europe, Cornell answered ads for pen pals in the "Christian Science Monitor," often responding to requests for clothing or other goods, and sometimes exchanging many letters over several years. Family correspondence is with his mother, sisters, brother, and others, and often notes activities of the day, foods eaten, and general musings, as well as occasionally mentioning a project or artwork. Correspondents of note include Stan Brakhage, Betty Freeman, Charles Henri Ford, Allegra Kent, Yayoi Kusama, Roberto Matta, Marianne Moore, Octavio Paz, Sonia Sekula, Pavel Tchelitchew, Parker Tyler, Dorothea Tanning, and Betsy von Furstenberg, among others.

Cornell was often preoccupied with his thoughts, feelings, memories, a project or thematic "exploration," and jotted notes on seemingly any surface available. Notes and musings are on napkins, the backs of envelopes, newspaper clippings, and paper bags from record and magazine stores. Frequently, an observation would trigger a lengthy nostalgic moment, or a "feé," fairy-like child or girl, would capture his imagination and lead him to thoughts of 18th-century ballerinas and silent film stars. Cornell wrote longer diary notes, sometimes expanding on an earlier notation or emotion, and often wrote when he experienced trouble sleeping or woke early. Drafted letters to imaginary muses or admired individuals are interspersed among diaries, often revealing Cornell's yearnings to find emotional intimacy and human connection. Over time, Cornell revisited his notes and occasionally made further notations about renewed thoughts on a topic, dating the note with "revisited" or "reviewed." Notes are often written in a stream-of-consciousness style, for example, jumping from the mention of a record album or composer, to a ballerina of the same period, a note about a French poet, the memory of childhood, or an observation made earlier in the day, all in the space of a few lines. Notes about artistic processes or meanings behind works or images do occasionally emerge from the tangled, poetic notations. Notes also often provide insights into Cornell's internal emotional state and give clues about his intentions behind an artwork or a particular thematic fixation.

Financial materials document Cornell's professional and personal business activities, including the sale of artworks, annual expenses for supplies and household incidentals, payments and schedules for personal assistants, receipts for donations to charities and nonprofits, and tax documents. There is also information about who worked as assistants, or "helpers," in his later years and where Cornell purchased art supplies. Additionally, specific details are documented through receipts and invoices, such as what kind of paint he purchased. Estate records include preparations made for Cornell's artworks after his death, and clippings about other deceased artist's estates show that he thought often about such arrangements in his later years.

Exhibition files highlight several select solo exhibitions for Cornell, as well as preparations and planning for the "Robert Cornell: Memorial Exhibition" in honor of his brother in 1966. Also included are several early exhibition catalogs and announcements, including "Surréalisme" (January 9-29, 1932) and "Exhibition of Objects (Bibloquet) by Joseph Cornell" (December 6-31, 1939) at the Julien Levy Gallery, and "Romantic Museum: Portraits of Women, Constructions and Arrangements by Joseph Cornell" (December 1946) at the Hugo Gallery.

Film projects and collected film materials consist of files related to Cornell's various experimental film projects: "Aviary," "Cappuccino," "Centuries of June," "Fable for Fountains," "Nymphlight," "Serafina's Garden," and unrealized film scenario "Monsieur Phot." Files include film-making notes, correspondence, and photographs. Cornell's interest in film also led him to collect film-related materials, such as film stills, film posters, and screening programs. Scattered correspondence documents the interest other institutions and individuals had in purchasing and viewing his collection. Though most of his collected film stills and movie posters were donated to the Anthology Film Archives, film stills from "Escape Me Never" (1935) and "The Passion of Joan of Arc" (1928) are still within the collection, as well as film-screening programs for Cornell's collection of films.

Writing and design projects document Cornell's work authoring articles and designing issues of specialty dance magazine "Dance Index," and his layouts for popular magazines like "Good Housekeeping," "House and Garden," and "Mademoiselle." Other writing projects include brochures dedicated to opera singers Maria Malibran and Giulia Grisi, "Maria" and "Bel Canto Pet." Materials used for these brochures, such as copper photo engraving plates, are also found. Design work includes a series of Christmas cards created with The Museum of Modern Art as well as traced patterns ("textile tracings") and design clippings from Cornell's time working as a "textile designer" for Traphagen Commercial Textile Studio.

Cornell acquired troves of source material from bookstalls, antique stores, sporting good and department stores, hardware stores, and magazine and record shops. He kept boxes and files of material on admired individuals, such as actresses, artists, dancers, and singers, as well as on art projects or thematic "explorations." Files are on general topics such as American history, scientific phenomena, animals, plants, and humankind, as well as on series of artworks, such as "Castles," "Homage to the Romantic Ballet," and "Medici Slot Machines." Focused "exploration" projects include "Celestial Theatre," "Colombier," "GC 44," and "Switzerland," among others. Materials include photographs, photostats, maps, book fragments, autographed letters, notes, collage clippings and cutouts, collected prints and engravings, box and collage fragments, and scattered artifacts.

Collected ephemera includes large amounts of blank postcards and greeting cards, stamps, collected bus and train tickets, food labels and packaging, decals, and other materials. Artifacts are three-dimensional collected objects and source objects, which include found objects from the streets, dried flowers, and pieces of nature gathered from walks around his neighborhood. Cornell may have gathered materials because they inspired a memory or nostalgic feeling, or because they fit with a bin of other similar objects to select from for an artwork in progress.

Photographs found within the collection are of Cornell at work and as a child with family. Also found are assorted personal and family photographs, photographs of Cornell's attic and garage storage, and photographs of his Utopia Parkway house. Photographs of artwork include few installation photographs, in addition to photographs of Cornell's boxes and collages. Collected photographic materials include vintage photographs, such as tintypes, a cyanotype, stereoscopic glass slides, albumen prints, cabinet cards, and cartes-de-visite. Cornell also collected cased photographs, such as daguerreotypes, ambrotypes, and one opalotype. Negatives and photostats were often produced from various prints and even other photographs and used in Cornell's boxes and collages. Images are of men and women, actors, authors, dancers, performers, well-known men and women, royalty, places, and artwork. Photographs of note include those by Hans Namuth of Willem and Lisa de Kooning and of Edward Hopper's bedroom; photographs by Henri Cartier-Bresson; a photograph by Julia Margaret Cameron; photographs by Brassai; and a photogravure by Alfred Stieglitz from "Camerawork."

Also found in the collection are works of art by others, including a sketch by Pavel Tchelitchew, as well as artwork by Cornell, such as unfinished collages, Rorschach drawings or ink blots, and childhood artwork. Printed material includes assorted bulletins, flyers, exhibition materials for other artists, journals, and sent printed membership and charity materials. Magazines, including "View," are also included, and often have annotations by Cornell or a note to "cut" or "review" with page numbers. A large amount of magazine and newspaper clippings are in the collection, sometimes collected with a group of like material by Cornell, and at other times simply gathered in heaps. Occasional annotations are also found on the clippings.

Cornell's personal library and book collection includes over 2500 titles, ranging from fiction, poetry, and cinema, to history, science, and travel. Notable among the titles are "Baedeker's" travel guides that Cornell often sourced for his "Hotel" box series, as well as an influential publication by Max Ernst, "La Femme 100 têtes," which includes a typed letter and exhibition flyer tucked within. Books often have annotations, some fairly extensive, by Cornell, and assorted collected items, notes, and correspondence tucked between pages. Pages were often cut by Cornell, either to make photostats and use in a box, or to file with other thematic "explorations." A wide range of authors and topics provide insight into Cornell's interests and to ideas behind artwork and diary notes. Cornell's collection of record albums includes over 145 records. These contain inserted notes and clippings and are often referenced in diary notes Cornell made, noting a recent album or song listened to while at work in his studio.

The papers of Cornell's mother, Helen Storms Cornell, and his brother, Robert Cornell, are also included in the collection. Both lived with Cornell his whole life, spending the most time with him at their home at 3708 Utopia Parkway. Financial materials document shared responsibilities for billing, utilities, household fixes and chores, and expenditures, and Helen kept detailed financial records in a series of ledgers. Robert notes when he borrowed money from Cornell, or when he means to pay Cornell back for the purchase of a typewriter. Activities documented in diaries also occasionally cross paths with Cornell, noting his visitors or an exchange of letters continued after introductions through Cornell. Personal activities, such as Robert's interest in his train collection and his drawing projects and cartoon series, are also documented.
Arrangement:
The Joseph Cornell Study Center Collection is arranged into 15 series:

Series 1: Biographical Material, 1917-1972 (Boxes 1, 98, OV118; 0.9 linear feet)

Series 2: Correspondence, 1813, 1934-circa 1973 (Boxes 1-8, 86; 6.5 linear feet)

Series 3: Diaries and Notes, 1940-1976 (Boxes 8-10, 98-99, 135, OV108, OV119; 3.5 linear feet)

Series 4: Personal Business and Estate Records, 1950-1978 (Boxes 10-14; 4.1 linear feet)

Series 5: Exhibition Files, 1932-1973 (Box 14; 0.3 linear feet)

Series 6: Film Projects and Collected Film Materials, circa 1924-1972 (Boxes 14-16, 100, 133; 1.6 linear feet)

Series 7: Writing and Design Projects, circa 1910s, 1936-1962 (Boxes 16-18, 86, 100, 131-132, OV109-OV111, OV120-OV122; 3.6 linear feet)

Series 8: Source Material, 1750-circa 1911, 1926-1972 (Boxes 19-49, 86-92, 96, 100-105, 126-130, 132-137, OV112-OV115, OV125; 42.2 linear feet)

Series 9: Artifacts and Ephemera, 1768, circa 1839-1972 (Boxes 49-52; 3.2 linear feet)

Series 10: Photographic Material, circa 1800s-1972 (Boxes 52-56, 80-86, 93, 106, 128, 133, OV116, OV123-OV124; 7.5 linear feet)

Series 11: Artwork, circa 1810-1972 (Boxes 56-57, 107, OV117; 1.2 linear feet)

Series 12: Printed Material, 1855-1972 (Boxes 57-76, 94-96, 107; 16 linear feet)

Series 13: Book Collection and Personal Library, 1722-1980 (99.8 linear feet)

Series 14: Record Album Collection, circa 1925-1974 (3.2 linear feet)

Series 15: Cornell Family Papers, 1910-1980 (Boxes 77-79, 97, 107; 3.2 linear feet)
Biographical / Historical:
Joseph Cornell (1903-1972) was a self-taught assemblage and collage artist, and filmmaker, active in New York City. He was born in Nyack, New York on December 24, 1903, and died of heart failure at his home in Queens, New York on December 29, 1972. The oldest of four children, he was born Joseph I. Cornell to his mother, Helen Storms Cornell (1882-1966), and his father, Joseph I. Cornell (1875-1917). Cornell had two younger sisters, Elizabeth ("Betty") Cornell Benton (1905-2000) and Helen ("Sissy") Cornell Jagger (1906-2001), as well as one brother, Robert Cornell (1910-1965), who had cerebral palsy.

Cornell attended the Phillips Academy, a preparatory boarding school in Andover, Massachusetts, beginning shortly after his father's death in 1917. He attended for four years but did not receive a diploma, and soon began work as a textile salesman for the William Whitman Company in Manhattan. His work took him, by foot, through the city, visiting secondhand bookshops on Fourth Avenue, browsing music stores and magazine shops, and catching early shows at the Metropolitan Opera House. He would occasionally wait outside the stage doors for favorite singers and dancers to emerge, requesting signatures on photographs or bits of costumes.

Around 1926, Cornell joined the Christian Science Church, joined by his brother Robert shortly thereafter, and both continued to be lifelong members. Cornell kept a number of books in his personal library on Christian Science teachings and regularly subscribed to "The Christian Science Monitor."

After living in several rental houses in Bayside, New York, Cornell's mother purchased a house for the family in 1929 in Flushing, Queens. Cornell, along with his mother and brother, would live at 3708 Utopia Parkway, for the rest of their lives. His two sisters soon married and moved away, eventually settling in Westhampton, Long Island and in the poultry-farming business.

With no formal art training to speak of, Cornell's first work was a Max Ernst-inspired collage, "Untitled (Schooner)," created in 1931. He was especially inspired by Ernst's collage novel, "La Femme 100 têtes," published in 1929. French artist Odilon Redon was also among the few artists Cornell named as an influence on his art. His first sculptural works were small, cardboard pill boxes with bits of ephemera, costume adornments, and nature hidden inside. Cornell also created a series of glass bell jar works, placing small trinkets and Victorian-era-like compositions within. It was these early collages and bell jar works that were included in Cornell's debut exhibition, "Surréalisme" (January 9-29, 1932), a group show at the Julien Levy Gallery. Cornell designed the announcement for the show and exhibited alongside Max Ernst, Man Ray, Pierre Roy, Pablo Picasso, Marcel Duchamp, Eugène Atget, George Platt Lynes, Jean Cocteau, and Salvador Dalí. Months later, Cornell was invited to have his first solo show, "Objects by Joseph Cornell: Minutiae, Glass Bells, Shadow Boxes, Coups d'Oeil, Jouets Surréalistes" (November 26-December 30, 1932), also at the Julien Levy Gallery.

In 1932, after eleven years of work, Cornell was laid off from the William Whitman Company due to the Great Depression. Soon after, he took on more responsibility in the church, working part-time as an attendant in the Christian Science Reading Room in Great Neck, New York. Beginning in 1933, he taught Sunday school classes for three years and in 1935, became the Sunday school librarian. However, his religious activities and artistic ventures continued to remain separate.

In the early 1930s, Cornell progressed from movie lover to filmmaker. When Julien Levy began his New York Film Society in 1933, holding screenings of various experimental films in the gallery, Cornell began buying and collecting films and film stills in earnest. He set up a 16-millimeter projector in his home to screen favorites, such as those by Georges Méliès, D.W. Griffith, and Louis Feuillade. His collection quickly grew to over 2,500 film stills and several hundred films, and included silent era films, such as nature documentaries, goofy newsreels, travelogues, early cartoons, and slapstick comedies, as well as several feature films. In 1933, Cornell wrote a screenplay, or "scenario," entitled "Monsieur Phot." Between 1935 and 1937, Cornell also occasionally created publicity photomontages for Universal and Columbia studios. Of the nearly thirty films Cornell created, periods of activity can generally be separated into two areas: collage films of the late 1930s, consisting of combined elements from films in his own collection, and films he directed in the 1950s, which were collaborations with other filmmakers set in New York City. "Rose Hobart," Cornell's most celebrated collage film, was created and shown in the Julien Levy Gallery in 1936 and includes clipped footage from "East of Borneo." Later films were directed and filmed with cinematographers Stan Brakhage, Rudy Burckhardt, and Larry Jordan.

In 1934, Cornell began a job at the Traphagen Commercial Textile Studio as a "textile designer," a job he held for six years. Continuing to work at his kitchen table in the evenings, Cornell completed his first assemblage box construction, "Untitled (Soap Bubble Set)," in 1936. It was first exhibited at The Museum of Modern Art's show, "Fantastic Art, Dada and Surrealism" (December 9, 1936-January 17, 1937). This work was also the first to be acquired by a museum, purchased for $60.00 by the Wadsworth Atheneum in Massachusetts in 1938. Cornell's European debut was also in 1938, as one of three Americans represented in the "Exposition Internationale du Surréalisme" (January 17-Febuary 24, 1938) at the Galerie Beaux-Arts in Paris, alongside Man Ray and Anne Clark.

At the end of 1939, Cornell began corresponding with poet Charles Henri Ford, founder of avant-garde magazine "View," Pavel Tchelitchew, and Parker Tyler. After his "Soap Bubble Sets," this period saw the development of Cornell's homages to singers and actresses, including "Untitled (Fortune-Telling Parrot for Carmen Miranda)," the destroyed "Garbo (Greta Garbo in the Legendary Film 'The Crystal Mask,' c. 1845)," and "Dressing Room for Gilles." He also began using photostats of art reproduction prints, as with the print of Jean Antoine-Watteau's painting, "Pierrot" (circa 1719), used in his "Gilles" box.

In the 1940s, the Romantic ballet emerged as Cornell's new topic of interest. Through his friend Pavel Tchelitchew, Cornell was introduced to the School of American Ballet and New York City Ballet founders, Lincoln Kirstein and George Balanchine. Cornell collected dance memorabilia and had a great love of the Romantic ballet. His favorite dancers were primarily ballerinas of the nineteenth century, including Fanny Cerrito, Marie Taglioni, Fanny Elssler, Lucille Grahn, and Carlotta Grisi. Cornell's "Homage to the Romantic Ballet" works largely took the shape of jewel-box style wooden boxes with glass overlays and included bits of velvet, tulle, sequins, crystals, and chiffon, occasionally collected from dancers themselves. His most well-known work of this series is "Taglioni's Jewel Casket" (1940). Cornell also admired several living ballet dancers, including Tamara Toumanova, Zizi Jeanmaire, and Allegra Kent, who would all make their way into Cornell's box works and/or collages. Collecting for the "exploration," "Portrait of Ondine," Cornell's cased portfolio dedication to Fanny Cerrito and her role in the ballet "Ondine," began in the 1940s, though not completed until around 1960.

In late 1940, Cornell quit his job at Traphagen to concentrate on freelance commercial magazine design and editorial work during the day and his artwork at night. That same year, Charles Henri Ford started "View" magazine to promote Surrealists and Neo-Romantics in New York City and often asked Cornell to contribute. Published in the December 1941-January 1942 issue, one of his early contributions was a collage dedication to stage actress Hedy Lamarr: "Enchanted Wanderer: Excerpt from a Journey Album for Hedy Lamarr" (1941). Along with writing the accompanying text, he created a photomontage of Lamarr with her face overlaying the painted portrait of a Renaissance boy by Italian painter Giorgione. Peggy Guggenheim, at the advice of Marcel Duchamp, purchased multiple Cornell works prior to opening her new gallery, Art of This Century. Cornell also befriended Roberto Matta Echaurren, another Surrealist living in exile, who introduced him to Robert Motherwell.

After deciding to fully dedicate his time to his art in early 1940, he set up a studio in his basement. Complete with floor-to-ceiling wooden shelving, he kept his large collection of boxed source material stacked with handwritten labels in cardboard boxes. Themed folders of materials such as "Stamps" or "Maps" were kept in stacks and works in progress and finished works were stored in the basement, garage, and attic. Entering a renewed period of productivity, Cornell embarked on many new and important box projects in 1942. One of the first boxes created in his new basement studio, and the first of the "Penny Arcade" or "Medici Slot Machine" series, was "Medici Slot Machine" (1942), which includes a photostat of "Portrait of Marquess Massimiliano Stampa" (1557) by Sofonisba Anguissola. Another work from this time is the first of his "Castle" or "Palace" series, "Setting for a Fairy Tale" (1942), which uses a photostat of a French building from Jacques Androuet du Cerceau's book, "Les Plus excellents bastiments de France" (1576). "Untitled (Pharmacy)" (circa 1942) was the first of his "Pharmacy" series and included twenty-two apothecary jars. Cornell tended to work in series and created thirteen "Palace" boxes between 1942 and 1951, and ultimately created six "Pharmacy" works.

In 1943, Cornell began working at an electronics company, the Allied Control Company, Inc., to do his part to contribute to the defense effort during the war. He also sent correspondence and care packages to displaced Europeans, who listed their needs in "The Christian Science Monitor." Influenced by World War II, one of his strongest works to emerge in 1943 was "Habitat Group for a Shooting Gallery." Another notable work to come out of this period, "The Crystal Cage (Portrait of Berenice)," was an excerpt from one of his album "explorations" that was published in the January 1943 issue of "View."

Cornell left his job at Allied Control in 1944, but soon began working at the Garden Centre in Flushing, owned by a fellow Christian Scientist. Cornell was often nostalgic for this time in his life, devoting an entire "exploration" of material fondly remembered as "GC 44." He rode a bicycle to work and enjoyed collecting trips gathering dried grasses, driftwood, shells, and other relics of nature on the same bicycle as he rode through the streets of Queens. During this time, he continued to tend to his projects for "Dance Index," a magazine founded in 1942 by Lincoln Kirstein, but taken over by Donald Windham in 1944. Cornell designed several covers for the magazine and was given control of the entire summer 1944 issue, which he devoted to the Romantic ballet. He also devoted a special 1945 issue to Hans Christian Andersen, making great use of the New York Public Library Picture Collection.

Throughout the 1940s, Cornell continued to support himself with commercial design work for magazines like "Vogue," "Good Housekeeping," "Harper's Bazaar," "Town & Country," and "Mademoiselle." In 1946, after thirteen years at the Julien Levy Gallery, he joined the Hugo Gallery. In December 1946, Cornell's solo exhibition, "Romantic Museum at the Hugo Gallery: Portraits of Women by Joseph Cornell," celebrated his favorite movie stars, singers, and ballet dancers, and included his work created for the show, "Untitled (Penny Arcade Portrait of Lauren Bacall)." Cornell's "Greta Garbo" box, as well as "Souvenir for Singleton," an homage to Jennifer Jones and her role in the film "Love Letters," were also included in the show. In late 1948, his West Coast debut was in the exhibition, "Objects by Joseph Cornell," held at the Copley Gallery. The end of the 1940s saw the final issue of "View" magazine in 1947, the closure of the Julien Levy Gallery in April 1949, and Cornell's departure from the Hugo Gallery after his last show in November 1949.

In late 1949, Cornell joined the Charles Egan Gallery, known primarily for showing Abstract Expressionists. At this time, Cornell was working on a new series of boxes known as his "Aviary" works, most of which include a white-painted box with cutouts of birds mounted on wood. Though he had worked on bird-related boxes before, including an "Owl" series in the mid-1940s, his "Fortune Telling Parrot" (1939), and "Object 1941" (1941), these newer works were stripped of French elements and left "clean and abstract" by design. His first show at the Egan Gallery, "Aviary by Joseph Cornell" (December 7, 1949-January 7, 1950), included twenty-six "Aviary" works, nearly all created in 1949. Donald Windham agreed to write the foreword for the exhibition catalog, a single folded sheet, and Cornell gave him one of the boxes in the show, "Cockatoo: Keepsake Parakeet," in appreciation. Through the Egan Gallery, Cornell became friends with a new group of artists, including Franz Kline, Jack Tworkov, and Willem de Kooning. Cornell also held two screenings of a selection of his collected films at Subjects of the Artist, an art school founded by Robert Motherwell, Mark Rothko, David Hare, and William Baziotes.

In 1950, Cornell's second show at the Egan Gallery, "Night Songs and Other New Work" (December 1, 1950-January 13, 1951), introduced his new "Observatory" series. These works are largely defined by stark, whitewashed spaces with astronomical charts and constellations replacing colorful birds. The Museum of Modern Art purchased its first Cornell work from this show in early 1951, "Central Park Carrousel, in Memoriam" (1950).

For three months in 1951, Cornell was beset by various ailments and had trouble finding the energy to create new work. He worried more for his aging mother and the health of his brother. After a monthlong vacation with his sisters in Westhampton, he returned with renewed interest in Emily Dickinson's poetry. His whitewashed boxes took on a new form in his newest "Dovecote" series, using grids and circular cutouts. The works then transformed into homages to Dickinson, notably "Toward the Blue Peninsula: For Emily Dickinson" (circa 1953), and then to his "Hotel" series. Cornell's "Hotel" boxes include photostats of vintage European ads for hotels collected from vintage travel guides, especially "Baedeker's," adhered to the back walls of the boxes. Another new series of work, his "Juan Gris" series, was dedicated to Cubist artist Juan Gris. Between 1953 and the mid-1960s, Cornell created at least fifteen "Juan Gris" boxes, which often include a cutout of a white cockatoo in a Cubist-collage habitat. Cornell's third and last show at Egan Gallery, "Night Voyage" (February 10-March 28, 1953), included some of these newest works. After leaving Egan Gallery, his work was introduced to Chicago collectors in a solo show at the Frumkin Gallery, "Joseph Cornell: 10 Years of His Art" (April 10-May 7, 1953), which included nearly thirty pieces. Cornell's first museum retrospective was this same show held at the Walker Art Center in Minneapolis (July 12-August 30, 1953).

As New York City continued to change, Cornell grew more nostalgic for the city he had explored since the 1920s. The impending closure of the Third Avenue El train prompted him to dream up a film project to capture its last days, resulting in "Gnir Rednow," a reworking of Stan Brakhage's 1955, "Wonder Ring." During this time, Cornell joined the Stable Gallery, run by Eleanor Ward, interacting often with Robert Rauschenberg, Cy Twombly, and Joan Mitchell, remaining there until the end of the 1950s. His astronomy-themed exhibition, "Winter Night Skies" (December 12, 1955-January 13, 1956), included his "Night Skies" series of work with celestial chart fragments, Greek mythological figures, and paint-splattered "windows" representative of star-filled night skies. In 1956, he became aware of ballerina Allegra Kent, and began a series of work devoted to her, the first of which was "Via Parmigianino (Villa Allegra)" (1956), which included a photostat of a painting by Parmigianino, "The Madonna of the Long Neck" (circa 1540). In late 1957, after two years, Cornell had his last show at Stable Gallery, "Joseph Cornell: Selected Works" (December 2-31, 1957), consisting of a series of "Sand Fountain" boxes and "Space Object" or "Celestial Navigation" works. The "Sand Fountain" boxes included different colors of sand meant to flow within, often from the tops into cordial glasses. His "Celestial Navigations" included galaxy-like compositions set within the boxes, with rolling, painted cork balls, metal rings, and constellation charts, sometimes hovering over cordial glasses or clay pipes. This last Stable Gallery show earned him his first published profile, written by Howard Griffin for the December 1957 issue of "Art News." Also in 1957, he won the Kohnstamm Prize for Construction at the Art Institute of Chicago's 62rd Annual Exhibition of Paintings and Sculpture.

Towards the end of the 1950s, Cornell spent less time creating new bodies of work, and focused more on revisiting previous series and reviewing piles of collected source material. In 1959, Cornell returned to making collages, frequently sourcing popular magazines. In December 1959, Cornell was awarded $1,500 for his "Orion" collage, entered in the Art Institute of Chicago's "63rd American Exhibition of Painting and Sculpture." Also in December, he was offered a show at Bennington College in Vermont, which he titled, "Bonitas Solstitialis: Selected Works by Joseph Cornell and an exploration of the Colombier" (November 20-December 15, 1959). The show included one of his newest "explorations" of collected material related to "colombier," or pigeon houses.

By 1962, Cornell was working diligently on new collages, using Masonite boards and colorful magazine clippings. He also began creating collages using nude images interspersed with constellation clippings or hazy blue dyes. As in previous decades and art movements, Cornell became acquainted with new artists, spending less time in the city and more time hosting visitors at his Utopia Parkway home. Visitors included artists Walter De Maria, Robert Whitman, Andy Warhol, James Rosenquist, and Robert Indiana. Tony Curtis also became a frequent visitor and friend, introduced by Richard Feigen in 1964. The early 1960s was also the first time Cornell put out an advertisement for assistants in the "Long Island Star-Journal," employing a number of young men and women who helped organize clippings and run errands. Cornell also met Joyce Hunter, a young runaway waitress at a city coffee shop, who would occupy his thoughts and diary notes for the next several years. When she was murdered at the end of 1964, Cornell paid for her funeral. He went on to make several "Penny Arcade" collages in memoriam to her, including, "Penny Arcade (re-autumnal)" (1964).

In 1964, Cornell began friendships with several women including artist Carolee Schneeman, who was his first assistant in the early 1960s. He also met artist Yayoi Kusama through art dealer Gertrude Stein. After becoming friends, she visited him often and they exchanged letters and notes. As he did with other artist friends, Cornell supported her by purchasing several of her early watercolor paintings, and they stayed connected until his death in 1972.

Cornell's life greatly changed in 1965 with the death of his brother, Robert. By this time, his mother lived with his sister in Long Island, and Cornell was alone in the Utopia Parkway house for the first time. He exchanged frequent letters and phone calls with his mother and devoted much time to thinking about Robert and Joyce, often aligning them in his diary notations. Cornell also created a series of collages dedicated to his brother's memory, incorporating photostats of Robert's hundreds of drawings into Cornell's work, as with the later collage, "The Heart on the Sleeve" (1972). Cornell's "Time Transfixed" series of collages were also dedications to Robert's memory, referencing Magritte and Robert's love of trains. He mounted an exhibition, "Robert Cornell: Memorial Exhibition" (January 4-29, 1966), at the Robert Schoelkopf Gallery, where he showed Robert's artwork alongside his newly created collage dedications.

After Robert's death, Cornell relied more heavily on assistants, going through many part-time "helpers." In October 1966, Cornell's mother died, adding her to his constant thoughts and diaries. Though he was still grieving, he was given two major retrospectives in 1967. The first was at the Pasadena Art Museum, put on by James Demetrion and Walter Hopps, "An Exhibiton of Works by Joseph Cornell" (January 9-February 11, 1967). The second retrospective was at the Guggenheim Museum just three months later, "Joseph Cornell" (May 4-June 35, 1967), organized by Diane Waldman. After these shows, he was highlighted in the December 15, 1967 issue of "Life" in the article, "The Enigmatic Bachelor of Utopia Parkway."

In 1968, Cornell was given an "award of merit," which included a medal and $1,000, by the American Academy and Institute of Arts and Letters. He was also given a medal and $1,000 by the Brandeis University Creative Arts Awards in the painting category, along with an exhibition. Days later, "The New York Times" announced Cornell the winner, along with Donald Judd, of India's first Triennale of Contemporary World Art. The Brandeis exhibition, "Boxes and Collages by Joseph Cornell" (May 20-June 23, 1968), was organized by William Seitz and concentrated on Cornell's more recent 1960s collages. Cornell was also included in the Metropolitan Museum of Art's hundredth anniversary show, "New York Painting and Sculpture: 1940 to 1970" (October 18, 1969-February 1, 1970), where twenty-two of Cornell's boxes were shown in their own gallery. At the end of 1970, Cornell was given a solo show at the Metropolitan, "Collages by Joseph Cornell" (December 10, 1970-January 24, 1971), which included forty-five of his newest collages.

Now preferring to stay closer to his home in Flushing, Cornell was more interested in sharing his art with young adults and children, than an adult audience. He hosted a group of high school students, sponsored by the Metropolitan Museum of Art's education department, at his home in conjunction with his collage show (1970-1971). He also showed his work in the art department of Queens College of the City University of New York. Cornell still hosted visitors on occasion, having Yoko Ono and John Lennon at his home at least once. Leila Hadley, Betsy von Furstenberg, and Anne Jackson also made frequent visits. With his deteriorating health, Cornell worried about what would happen to his work after his death and hired lawyer Harry Torczyner to help him plan his estate and get his affairs in order.

In 1972, Cornell had a show at the Cooper Union, a college in New York, specifically for children. He displayed his boxes and collages at child-height and had cherry soda and brownies at the opening reception on February 10. He then held a show at the Albright-Knox Art Gallery in Buffalo, also for children: "Children's Preview of the Exhibition of Joseph Cornell – Collages and Boxes (April 18-June 17, 1972). In the winter of 1972, at the request of the Phoenix House drug treatment and prevention program, Cornell contributed to a charity project compiling limited-edition lithographic prints for a portfolio, which included artists like David Hockney, James Rosenquist, and Ellsworth Kelly.

On December 29, 1972, a week after turning sixty-nine, Cornell died of heart failure at his home. He was cremated and interred near the graves of his mother, father, and brother, overlooking the Hudson River in Nyack, New York.

Works Cited:

1. Hartigan, Lynda Roscoe. "Joseph Cornell: Navigating the Imagination." New Haven, Connecticut and London: Yale University Press, 2007. Exhibition Catalog.

2. McShine, Kynaston. "Joseph Cornell." New York: Museum of Modern Art, 1980.

3. San Francisco Cinematheque and The San Francisco Museum of Modern Art. "Joseph Cornell: Films." 2007. Exhibition Program. (Presented in conjunction with SFMOMA's exhibition of "Joseph Cornell: Navigating the Imagination").

4. Schaffner, Ingrid and Lisa Jacobs. "Julien Levy: Portrait of an Art Gallery." Cambridge, Massachusetts and London: The MIT Press, 1998.

5. Solomon, Deborah. "Utopia Parkway: The Life and Work of Joseph Cornell." New York: Farrar, Straus and Giroux, 1997.
Separated Materials:
The Smithsonian Archives of American Art houses the Joseph Cornell papers, 1804-1986, bulk 1939-1972.
Provenance:
The Joseph Cornell Study Center collection was donated to the Smithsonian American Art Museum by Joseph Cornell's sister and brother-in-law, Elizabeth Cornell Benton and John A. Benton, in 1978, which prompted the creation of the Joseph Cornell Study Center. Additional materials were donated in installments by the artist's estate, the Joseph and Robert Cornell Memorial Foundation, from 1985 to 1997. Elizabeth and John A. Benton originally donated 66 linear feet of three-dimensional and non-textual source material and 50 linear feet of books to the Smithsonian Archives of American Art, which were subsequently transferred to the Smithsonian American Art Museum's Joseph Cornell Study Center in 1994 and 1995.
Restrictions:
Access to the collection requires an advanced appointment. Contact collection staff at least two weeks prior to preferred date, at AmericanArtCornellStudy@si.edu.

Series 9: Artifacts and Ephemera, Series 13: Personal Library and Book Collection, and Series 14: Record Album Collection, are still undergoing processing and preservation and may not be available for research use. Record albums are unavailable for playback. Contact collection staff for full lists of publications and record albums.
Rights:
Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.
Occupation:
Collagists -- New York (State) -- New York  Search this
Topic:
Art, Modern -- 20th century -- United States  Search this
Assemblage (Art)  Search this
Assemblage artists -- New York (State) -- New York  Search this
Found objects (Art)  Search this
Works of art  Search this
Celebrities  Search this
Filmmakers -- New York (State) -- New York  Search this
Genre/Form:
Photographic photoprints -- Silver gelatin -- 1900-1950
Photographs -- 1860-1870 -- Black-and-white photoprints -- Silver albumen -- Cartes-de-visite
Photographs -- Daguerreotypes -- 1840-1860
Citation:
Joseph Cornell Study Center collection, 1750-1980, bulk 1930-1972. Joseph Cornell Study Center, Smithsonian American Art Museum.
Identifier:
SAAM.JCSC.1
See more items in:
Joseph Cornell Study Center Collection
Archival Repository:
Smithsonian American Art Museum, Research and Scholars Center
GUID:
https://n2t.net/ark:/65665/ih7d97fc249-474d-41bf-953d-5305df1e4c06
EDAN-URL:
ead_collection:sova-saam-jcsc-1

Loo Family Photographs

Creator:
Loo, C. T. & Co.  Search this
Names:
Teilhard de Chardin, Pierre  Search this
Extent:
52 Photographs (black and white silver gelatin prints)
Type:
Collection descriptions
Archival materials
Photographs
Photographic prints
Black-and-white photographic prints
Place:
France
Paris (France)
Beijing (China)
France -- Ile-de-France -- Paris
Date:
undated
Scope and Contents:
Fifty two photographic prints relating to the Asian art dealer C.T. Loo. Photographs feature interior and exterior views of Loo's Paris gallery, showing important works of art, many of which were later acquired by museums and private collections of Europe and the US. Also included are formal portraits and informal snapshots of Loo, his family and associates in Paris and Beijing.
北京
Arrangement:
Photographs are numbered individually with no attempt to organize by subject.
Biographical / Historical:
The photographs document the gallery, C.T. Loo et Cie, known as the Pagoda (renovated 1926-1928, currently a designated historical site in Paris) of the leading internateal dealer of Chinese art C.T. Loo (1880-1957). Well known to art experts around the world, the gallery attracted the attention of the renowned art historian Osvald Siren, who wrote an article in 1928 on this gallery, focusing on the murals. Many of the objects shown in the gallery can be identified as important pieces in major American and European museums, including the Metropolitan Museum of Art, New York, Nelson-Atkins Gallery, Kansas City, and the Musee Guimet, Paris. Loo was instrumental in introducing some of the most important bronzes, jades, and stone sculptures to the Freer Gallery of Art between 1915 and 1951. This collection holds an added significance because it comes from Janine Loo Pierre-Emmanuel (1920-2013), daughter of C. T. Loo, and ex-wife of Jean-Pierre Dubosc, the prominent Sinologist, collector and dealer of Chinese art. Mme. Pierre-Emmanuel, a well-known dealer in the post-war era, was in contact with important scholars, collectors and dealers, such as Pierre Teillard de Chardin, Laurence Sickman, Grenville L. Winthrop, Arthur M. Sackler, Mr. and Mrs. John D. Rockefeller, 3rd, and J. T. Tai. In addition to Chinese art, the gallery interior views show pieces from South and Southeast Asia
Local Numbers:
FSA A2010.07
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art -- China  Search this
Genre/Form:
Photographic prints
Black-and-white photographic prints -- Silver gelatin -- 1900-1950
Citation:
Loo Family Photographs. FSA.A2010.07. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Janine Loo Pierre-Emmanuel, 2010.
Identifier:
FSA.A2010.07
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
GUID:
https://n2t.net/ark:/65665/dc3806be1c4-aa51-4b35-b3e5-f5f717c3f30a
EDAN-URL:
ead_collection:sova-fsa-a2010-07
Online Media:

Leo Castelli Gallery records

Creator:
Leo Castelli Gallery  Search this
Names:
Amsterdam (Netherlands). Stedelijk Museum  Search this
Castelli Graphics (Firm)  Search this
Castelli-Sonnabend Tapes and Films, Inc.  Search this
Dwan Gallery (Los Angeles, Calif.)  Search this
Dwan Gallery (New York, N.Y.)  Search this
Ferus Gallery (Los Angeles, Calif.)  Search this
Ileana Sonnabend (Gallery)  Search this
Jewish Museum (New York, N.Y.)  Search this
Multiples, Inc.  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Sidney Janis Gallery  Search this
Whitney Museum of American Art  Search this
Artschwager, Richard, 1923-  Search this
Barry, Robert, 1936-  Search this
Bloom, Barbara, 1951-  Search this
Castelli, Leo  Search this
Christo, 1935-  Search this
Chryssa, 1933-  Search this
Daphnis, Nassos, 1914-  Search this
Darboven, Hanne  Search this
Epstein, Ethel Steuer  Search this
Flavin, Dan, 1933-  Search this
Gorgoni, Gianfranco  Search this
Heller, Ben, 1925-  Search this
Johns, Jasper, 1930-  Search this
Judd, Donald, 1928-  Search this
Kiesler, Frederick  Search this
Klapheck, Konrad, 1935-  Search this
Koons, Jeff  Search this
Landsman, Stanley, 1930-  Search this
Lichtenstein, Roy, 1923-1997  Search this
Marisol, 1930-2016  Search this
Morris, Robert, 1931-2018  Search this
Namuth, Hans  Search this
Nauman, Bruce, 1941-  Search this
Paik, Nam June, 1932-  Search this
Panza, Giuseppe  Search this
Parker, Raymond, 1922-  Search this
Power, Alan  Search this
Powers, John, 1916-  Search this
Powers, Kimiko  Search this
Rauschenberg, Robert, 1925-2008  Search this
Rosenquist, James, 1933-  Search this
Rowan, Carolyn  Search this
Rowan, Robert  Search this
Ruscha, Edward  Search this
Scarpitta, Salvatore, 1919-2007  Search this
Scull, Ethel  Search this
Scull, Robert C.  Search this
Serra, Richard, 1938-  Search this
Starn, Doug  Search this
Starn, Mike  Search this
Stella, Frank  Search this
Tremaine, Burton  Search this
Tremaine, Emily Hall, 1908-1987  Search this
Twombly, Cy, 1928-  Search this
Tworkov, Jack  Search this
Warhol, Andy, 1928-  Search this
Weiner, Lawrence  Search this
Extent:
215.9 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Video recordings
Sketches
Transcripts
Sound recordings
Notes
Visitors' books
Photographs
Notebooks
Awards
Date:
circa 1880-2000
bulk 1957-1999
Summary:
The Leo Castelli Gallery records measure 215.9 linear feet and 0.001 GB and date from circa 1880-2000, with the bulk of the materials dating from the gallery's founding in 1957 through Leo Castelli's death in 1999. The major influence of dealer Leo Castelli and his gallery on the development of mid-to-late twentieth century modern art in America is well-documented through business and scattered personal correspondence, administrative files, exhibition files, extensive artists' files and printed materials, posters, awards and recognitions, photographs, and sound and video recordings. Also included are records for the subsidiary firms of Castelli Graphics and Castelli/Sonnabend Tapes and Films.
Scope and Content Note:
The Leo Castelli Gallery records measure 215.9 linear feet and 0.001 GB and date from circa 1880-2000, with the bulk of the materials dating from the gallery's founding in 1957 through Leo Castelli's death in 1999. The major influence of dealer Leo Castelli and his gallery on the development of mid-to-late twentieth century modern art in America is well-documented through business and scattered personal correspondence, administrative files, exhibition files, extensive artists' files and printed materials, posters, awards and recognitions, photographs, and audio and video recordings. Also included are records for the subsidiary firms of Castelli Graphics and Castelli/Sonnabend Tapes and Films.

The records document the gallery's daily business operations, exhibitions, spaces/buildings, collaborations and joint ventures with other galleries and museums, and its relationship with many artists, dealers, and clients. Artists particularly well-represented throughout the collection include Hanne Darboven, Dan Flavin, Jasper Johns, Donald Judd, Roy Lichtenstein, Robert Morris, Bruce Nauman, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Richard Serra, Frank Stella, Andy Warhol, and Lawrence Weiner.

Records pre-dating the gallery's establishment in 1957 are primarily newspaper and magazine clippings related to artists, personal photographs and photographs of works of art, and scattered personal business records of Leo Castelli.

General Correspondence is extensive at circa 25 linear feet and consists primarily of the gallery's and Leo Castelli's named and subject correspondence files concerning the gallery's daily operations, exhibitions, artwork installation and fabrication, appraisals, inquiries, loans, sales, consignments, personal and business relationships with artists, and other topics. The general correspondence is arranged either by name of correspondent or topic, and is with museums and galleries, collectors, business associates, artists, employees, and friends. Notes, scattered photographs and slides, and printed materials are often found as enclosures. Leo Castelli's personal correspondence is also found here and consists primarily of solicitations, requests for advice, notes of thanks, congratulations, and invitations.

Letters written by artists in the gallery's stable are somewhat limited. There are scattered letters from artists Christo, Chryssa, Nassos Daphnis, Hanne Darboven, Marisol, Dan Flavin, Jasper Johns, Frederick Kiesler, Robert Morris, Hans Namuth, Bruce Nauman, Nam June Paik, Ray Parker, James Rosenquist, Edward Ruscha, Salvatore Scarpitta, Frank Stella, Cy Twombly, and Jack Tworkov. There are also letters about artists in this series filed under the artists' name.

Collectors and dealers represented within the correspondence include the De Menil family, Mrs. Henry Epstein, Ben Heller, Giuseppe Panza, Alan Power, John and Kimiko Powers, Robert and Carolyn Rowan, Robert and Ethel Scull, and Burton and Emily Tremaine. Museums and galleries for which there is considerable correspondence includes the Dwan Gallery, Ferus Gallery, the Jewish Museum, Museum of Modern Art, Sidney Janis Gallery, Stedelijk Museum, Whitney Museum of American Art, and the Ileana Sonnabend Galerie.

The materials arranged in General Correspondence were originally marked by the gallery as "correspondence" files upon accessioning, and, are thus arranged into their own series. However, in some cases, there appears to be little difference between the General Correspondence and the Administrative Files. Thus, researchers are encouraged to reference both series.

Administrative Files document a wide variety of the gallery's activities and business. Essentially, these are files that were arranged by the gallery according to subject or topic and cover almost all activities except specific exhibitions. These files include records and correspondence about buildings and space, advertising, appraisals, auctions, consignments, loans, miscellaneous business correspondence, index cards, business arrangements with artists, information about artists, interviews with artists (transcripts), history of the gallery, mailings, photograph requests, shipping, and other topics. Few items are in digital format. There are staff notebooks and files and Leo Castelli's notebooks and notes from the late 1950s through the early 1990s. Extensive outgoing chronological correspondence filed in this series dates from 1964-1977. Also found are transcripts of interviews with Leo Castelli, biographical material, some of it in digital format, and scattered photographs.

Researchers should note that the Administrative Files often overlap and complement the General Correspondence. However, they focus slightly more distinctly on gallery business activities and are arranged mostly by subject or topic, except for the chronological business correspondence. Researchers are encouraged to reference both series. For example, correspondence with and about Jasper Johns may be found in both series, but the administrative files most likely focus on a specific loan, consignment, or business activity or transaction.

Exhibition files provide a thorough history of the gallery's exhibitions, as well as the fabrication and installation of artwork for exhibitions. These files include correspondence, exhibition catalogs, guest books, lists of exhibitions by artist and by year, press releases, sketches and notes, and scattered financial records. Photographs document over 650 exhibitions at Leo Castelli Gallery, including The Ninth Street Show organized by Castelli in 1951, and over 200 exhibitions at other galleries.

Extensive artists' files comprise approximately 40% of the records and are a rich resource of printed and compiled information about the careers of over 120 artists and their relationship with Leo Castelli and the gallery. There are exhibition announcements and catalogs, flyers, invitations, magazine articles and clippings, newspaper clippings, posters, press releases, photographs, and a handful of books. Nearly half of the series is comprised of black and white photographs of artwork, presumably handled by the Leo Castelli Gallery.

Additional printed materials include exhibition announcements, flyers, invitations, magazine articles and clippings, newspaper clippings, press releases, and exhibition posters. Exhibition catalogs are filed with the exhibitions files. The general archives files provide a chronological history of the gallery and its exhibitions. There are also files concerning Leo Castelli and numerous art-related topics. Exhibition posters are found here as well.

Artwork is limited and includes a few works of art and signed posters. Artists represented here include photographer Gianfranco Gorgoni, Robert Morris, Bruce Nauman, Richard Serra and Andy Warhol, as well as others.

The records of the subsidiary Castelli Graphics New York consist of correspondence and administrative files relating to general operations and the sale and loan of prints. Also found are exhibition files, sales records, and scattered financial records. The series provides a wealth of information about Castelli Graphics collaborations with Multiples Inc. in the 1970s.

Also found in the collection are records of Castelli/Sonnabend Tapes and Films, a joint business venture between Leo Castelli Gallery and Sonnabend Gallery from 1974-1985. Records include correspondence, administrative files, exhibition files, artists' files, printed materials, sales and rental records, photographs, and financial records.

The importance and stature of Leo Castelli and the Leo Castelli Gallery to the arts community in New York City and beyond is documented by numerous awards and recognitions, such as framed and unframed certificates, plaques, statues, medals, and scattered photographs.

Nearly seven linear feet of photographs include professional black and white original prints, scattered color photographs, color transparencies, slides and negatives, and disassembled photo albums. The photographs primarily depict social and art events and functions; family and friends of Leo Castelli; and portraits of Leo Castelli and artists and of Leo Castelli with artists, including Richard Artschwager, Jasper Johns, Roy Lichtenstein, Bruce Nauman, Robert Rauschenberg, James Rosenquist, Salvatore Scarpitta, Richard Serra, Frank Stella, and Andy Warhol. Photographs of exhibitions and exhibition installations are filed with the exhibition files.

Sound and video recordings include sound and video art, performances, interviews with artists and Leo Castelli, recordings from and of exhibitions, and television publicity recorded on sound cassettes, phonograph records (vinyl and lacquer), videocassettes (U-matic, VHS, Betamax), and videocartridges. Artists represented include Vito Acconci, Robert Barry, Barbara Bloom, Hannah Collins, Hanne Darboven, Dan Flavin, Laura Grisi, Jasper Johns, Jeff Koons, Roy Lichtenstein, Bruce Nauman, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Ed Ruscha, Salvatore Scarpitta, Doug and Mike Starn, and Lawrence Weiner, among others.

See Index for list of Exhibitions at the Leo Castelli Gallery and Castelli Graphics
Arrangement:
The collection is arranged as 11 series:

Missing Title

Series 1: Correspondence, 1948-1999, bulk 1957-1997 (24.4 linear feet; Boxes 1-23, 191, OVs 233-236)

Series 2: Administrative Files, 1941-1999, bulk 1970s-1990s (17.3 linear feet; Boxes 24-39, 192-193, OVs 237-238, 0.001 GB; ER01-ER02)

Series 3: Exhibition Files, 1951-1999, bulk 1957-1998 (18.7 linear feet; Boxes 40-56, 192, 194-196, 308-309, OVs 239-241, 280)

Series 4: Artists Files, 1913-1999, bulk 1960s-1990s (80.8 linear feet; Boxes 57-133, 197-208, OVs 242-243)

Series 5: Printed Materials, 1949-1998 (23.5 linear feet; Boxes 134-153, 209-211, OVs 244-274, 276, 300, RDs 301-306)

Series 6: Artwork, circa 1960s-1990s (1.8 linear feet; Boxes 153, 212-213, OVs 275, 277-278, RD 307)

Series 7: Castelli Graphics, circa 1950-1999, bulk mid 1970s-early 1990s (16 linear feet; Boxes 154-169)

Series 8: Castelli/Sonnabend Tapes + Films, 1969-1998 (5.6 linear feet; Boxes 170-174, 214, OVs 279-281)

Series 9: Awards and Recognition, 1962-1998 (6.9 linear feet; Boxes 175-176, 215-228, OVs 282)

Series 10: Photographs, circa 1880-1997, bulk 1960s-1990s (6.6 linear feet; Boxes 177-180, 229-231, OVs 283-299)

Series 11: Sound and Video Recordings, 1959-2000 (9.7 linear feet; Boxes 181-190, 232)
Historical Note:
Leo Castelli (1907-1999) was one of America's most noted contemporary art dealers and opened the Leo Castelli Gallery in New York City in 1957. The gallery showcased cutting edge American contemporary art, including Surrealism, Abstract Expressionism, Neo-Dada, Pop Art, Op Art, Color Field painting, Hard-edge painting, Lyrical Abstraction, Minimal Art, Conceptual Art, and Neo-expressionism, among other movements.

Leo Castelli was born as Leo Krauss on September 4, 1907 in Trieste, of Italian and Austro-Hungarian Jewish origin. He married art dealer Ileana Sonnabend in 1932 and the couple lived in Paris up until World War II. They had a daughter, Nina Castelli Sundell. In Paris, Castelli opened his first gallery in 1939. At that time, he was interested in the European Surrealists.

For years after Castelli moved to New York, he worked in his father-in-law's garment business. However, he organized his first American exhibition in 1951, the famous Ninth Street Show of 1951, a seminal event of Abstract Expressionism.

In 1957, he opened the Leo Castelli Gallery in his townhome on E. 77th Street between Madison and Fifth Avenues in New York City. Castelli initially featured European Surrealism, but also curated exhibitions of American Abstract painters, including Jackson Pollock, Willem de Kooning, Cy Twombly, Friedel Dzubas, and Norman Bluhm.

In 1958, Castelli discovered Pop artists Robert Rauschenberg and Jasper Johns and forged a life-long nurturing relationship with both artists. The gallery then began focusing more on Pop Art, Minimalism and Conceptual Art. Beginning in the early 1960s, Castelli's stable included Richard Artschwager, Lee Bontecou, Chryssa, John Chamberlain, Ronald Davis, Dan Flavin, Donald Judd, Ellsworth Kelly, Joseph Kosuth, Roy Lichtenstein, Robert Morris, Bruce Nauman, Larry Poons, James Rosenquist, Ed Ruscha, Salvatore Scarpitta, Richard Serra, Frank Stella, Andy Warhol, and Lawrence Weiner.

Leo and Ileana divorced in 1959, and Ileana returned to Europe. She later moved back to New York and opened a gallery close to Castelli's. The two remained close and together they established the joint venture of Castelli-Sonnabend Films and Tapes to accommodate artists interested in new media.

In the 1970s Leo Castelli opened a downtown SoHo branch of the Leo Castelli Gallery at 420 West Broadway. In the 1980s he opened a second larger downtown exhibition space on Greene Street also in SoHo.

Leo Castelli's second wife was Antoinette Castelli, with whom he also opened Castelli Graphics, an art gallery devoted to prints and photographs, mostly those by Castelli artists. The couple also had a son together, Jean-Christophe Castelli. In 1995 Leo Castelli married Italian art historian Barbara Bertozzi Castelli. She directs the Leo Castelli Gallery today, showing many of the same artists of the gallery's past.

Leo Castelli's unparalleled eye for quality, combined with his extraordinary skill for nurturing and promoting new art and artists, secured his position as one of the most respected and influential advocates of contemporary art for nearly five decades.
List of Exhibitions:
Below is a chronological listing of over 850 exhibitions and events held at the Leo Castelli Gallery from 1957 to 1999; included are exhibitions at 4 E 77 St (1957-1989), 65 Thompson (1989-1994), 108th St Warehouse (1968-1970), 142 Greene St (1980-1988), 420 W Broadway (1971-1999), and 578 Broadway (1988-1997). Castelli Graphics exhibitions from 1969-1996 and Castelli/Sonnabend Tapes and Films exhibitions from 1974-1984 are also included and are noted when known.

Note that this list is not comprehensive. In particular, Castelli Graphics exhibitions from the 1980s and early 1990s are incomplete. Sources used to compile this index include exhibition schedules and lists, installation photographs, announcements, clippings, and other printed materials from the Leo Castelli Gallery records, and the Leo Castelli Gallery website (www.castelligallery.com).

Exhibitions are listed in chronological order by title, if known, and gallery address.

1957 SeasonFeb. -- First Exhibition: de Kooning, Delaunay, Dubuffet, Giacometti, Hartley, Leger, Mondrian, Picabia, Pollock, David Smith, van Doesburg; 4 E 77 St

Mar. 4-23, 1957 -- Jon Schueler; 4 E 77 St

Mar. 25 - Apr. 13, 1957 -- Viseux; 4 E 77 St

Apr. 15 - May 4, 1957 -- Paul Brach; 4 E 77 St

May 6-25, 1957 -- New Work: Bluhm, Budd, Dzubas, Johns, Leslie, Louis, Marisol, Ortman, Rauschenberg, Savelli; 4 E 77 St

1957-1958 SeasonOct. 1-26, 1957 -- Norman Bluhm; 4 E 77 St

Oct. 28 - Nov. 16, 1957 -- Horia Damian; 4 E 77 St

Nov. 18 - Dec. 14, 1957 -- Marisol; 4 E 77 St

Dec. 17, 1957 - Jan. 18, 1958 -- Collector's Annual; 4 E 77 St

Jan. 20 - Feb. 8, 1958 -- Jasper Johns; 4 E 77 St

Feb. 10 - Mar. 1, 1958 -- Friedel Dzubas; 4 E 77 St

Mar. 4-29, 1958 -- Robert Rauschenberg; 4 E 77 St

Apr. 1-26, 1958 -- Giuseppe Capogrossi; 4 E 77 St

Apr. 29 - May 31, 1958 -- Pioneers 1910-1950: de Kooning, Delaunay, Domela, Dubuffet, Giacometti, Hartley, Kandinsky, Leger, Miro, Picabia, Pollock, Schwitters, Smith, van Doejburg; 4 E 77 St

1958-1959 SeasonSept. 30 - Oct. 25, 1958 -- Angelo Savelli; 4 E 77 St

Oct. 28 - Nov. 22, 1958 -- Group Exhibition: Bluhm, Brach, Dzubas, Johns, Marisol, Rauschenberg, Schueler; 4 E 77 St

Nov. 25 - Dec. 20, 1958 -- Esteban Vicente, Drawings; 4 E 77 St

Jan. 6-24, 1959 -- Nassos Daphnis; 4 E 77 St

Jan. 27 - Feb. 14, 1959 -- Salvatore Scarpitta, Extramurals; 4 E 77 St

Feb. 17 - Mar. 7, 1959 -- Al Newbill; 4 E 77 St

Mar. 10-28, 1959 -- Gabriel Kohn; 4 E 77 St

Mar. 31 - Apr. 18, 1959 -- Norman Bluhm, Jean Dubuffet, and Robert Rauschenberg; 4 E 77 St

Apr. 21 - May 9, 1959 -- Jon Schueler; 4 E 77 St

May 12-30, 1959 -- Group Exhibition: Brach, Dzubas, Johns, Sander, Twombly; 4 E 77 St

1959-1960 SeasonOct. 6-17, 1959 -- Opening Exhibition of the New Gallery: Bluhm, Brach, Daphnis, Johns, Kohn, Rauschenberg, Sander, Scarpitta, Stella, Twombly; 4 E 77 St

Oct. 20 - Nov. 7, 1959 -- Work in Three Dimensions: Chamberlain, Follet, Giles, Johns, Klein, Kohn, Marisol, Nevelson, Ortman, Rauschenberg, Scarpitta; 4 E 77 St

Nov. 10-28, 1959 -- Ludwig Sander; 4 E 77 St

Dec. 1-26, 1959 -- Paul Brach; 4 E 77 St

Jan. 5-23, 1960 -- William Giles; 4 E 77 St

Jan. 26 - Feb. 13, 1960 -- Norman Bluhm; 4 E 77 St

Feb. 15 - Mar. 5, 1960 -- Jasper Johns; 4 E 77 St

Mar. 8-26, 1960 -- Nassos Daphnis; 4 E 77 St

Mar. 29 - Apr. 16, 1960 -- Robert Rauschenberg; 4 E 77 St

Apr. 19 - May 7, 1960 -- Salvatore Scarpitta; 4 E 77 St

May 10-28, 1960 -- Edward Higgins; 4 E 77 St

May 31 - June 25, 1960 -- Summary 1959-1960: Bluhm, Bontecou, Daphnis, Higgins, Johns, Kohn, Langlais, Rauschenberg, Sander, Scarpitta, Stella, Twombly, Tworkov; 4 E 77 St

1960-1961 SeasonSept. 27 - Oct. 15, 1960 -- Frank Stella; 4 E 77 St

Oct. 18 - Nov. 5, 1960 -- Cy Twombly; 4 E 77 St

Nov. 9 - Dec. 3, 1960 -- Lee Bontecou; 4 E 77 St

Dec. 6, 1960 - Jan. 7, 1961 -- Robert Rauschenberg, 34 Illustrations for Dante's Inferno; 4 E 77 St

Jan. 10-28, 1961 -- Frederick Kiesler; 4 E 77 St

Jan. 31 - Feb. 25, 1961 -- Jasper Johns, Drawings and Sculpture; 4 E 77 St

Feb. 28 - Mar. 18, 1961 -- Jack Tworkov; 4 E 77 St

Mar. 21 - Apr. 8, 1961 -- Bernard Langlais; 4 E 77 St

Apr. 11-29, 1961 -- Yves Klein, Le Monochrome; 4 E 77 St

May 2-20, 1961 -- Ludwig Sander; 4 E 77 St

May 23 - June [10], 1961 -- Sculpture and Relief: Bontecou, Chamberlain, Higgins, Scarpitta; 4 E 77 St

1961-1962 SeasonSept. 22 - Oct. 14, 1961 -- An Exhibition in Progress: Bontecou, Chamberlain, Daphnis, Higgins, Johns, Langlais, Moskowitz, Rauschenberg, Scarpitta, Stella, Twombly, Tworkov; 4 E 77 St

Oct. 17 - Nov. 4, 1961 -- Nassos Daphnis; 4 E 77 St

Nov. 7 - Dec. 5, 1961 -- Robert Rauschenberg; 4 E 77 St

Dec. 8, 1961 - Jan. 10, 1962 -- Group Exhibition: Bontecou, Johns, Langlais, [Lichtenstein], Scarpitta, Tworkov; 4 E 77 St

Jan. 13 - Feb. 6, 1962 -- John Chamberlain; 4 E 77 St

Feb. 10 - Mar. 3, 1962 -- Roy Lichtenstein; 4 E 77 St

Mar. 10 - Apr. 5, 1962 -- Robert Moskowitz; 4 E 77 St

Apr. 7-21, 1962 -- Group Exhibition: Bontecou, Chamberlain, Daphnis, Higgins, Rauschenberg, Scarpitta, Stella; 4 E 77 St

Apr. 28 - May 19, 1962 -- Frank Stella; 4 E 77 St

May 26 - June 30, 1962 -- Drawings: Bontecou, Johns, Lichtenstein, Moskowitz, Rauschenberg, Stella, Tworkov; 4 E 77 St

1962-1963 SeasonSept. 22 - Oct. 13, 1962 -- Group Exhibition: Chamberlain, Higgins, Johns, Klapheck, Rauschenberg, Scarpitta, Stella, Tinguely, Tworkov; 4 E 77 St

Oct. 16 - Nov. 7, 1962 -- John Chamberlain and Frank Stella; 4 E 77 St

Nov. 10 - Dec. 6, 1962 -- Lee Bontecou; 4 E 77 St

Dec. 8, 1962 - Jan. 9, 1963 -- Gerald van de Wiele; 4 E 77 St

Jan. 12 - Feb. 7, 1963 -- Jasper Johns; 4 E 77 St

Feb. 9 - Mar. 7, 1963 -- Jack Tworkov; 4 E 77 St

Mar. 9-30, 1963 -- Nassos Daphnis; 4 E 77 St

Apr. 2-25, 1963 -- Group Exhibition: Chamberlain, Higgins, Kiesler, Lichtenstein, Moskowitz, Rauschenberg, Stella, Twombly; 4 E 77 St

Apr. 27 - May 16, 1963 -- Salvatore Scarpitta; 4 E 77 St

May 20 - June 30, 1963 -- Group Drawing Exhibition: Bontecou, Daphnis, Johns, Lichtenstein, Moskowitz, Rauschenberg, Stella, Tworkov, van de Wiele; 4 E 77 St

1963-1964 SeasonSept. 28 - Oct. 24, 1963 -- Roy Lichtenstein; 4 E 77 St

Oct. 26 - Nov. 21, 1963 -- Robert Rauschenberg; 4 E 77 St

Nov. 23, 1963 - Jan. 2, 1964 -- Edward Higgins; 4 E 77 St

Jan. 4 - Feb. 6, 1964 -- Frank Stella; 4 E 77 St

Feb. 8 - Mar. 12, 1964 -- Group Exhibition: Chamberlain, Johns, Lichtenstein, Rauschenberg, Stella; 4 E 77 St

Mar. 14 - Apr. 9, 1964 -- Cy Twombly; 4 E 77 St

Apr. 11-30, 1964 -- John Chamberlain; 4 E 77 St

May 2 - June 3, 1964 -- Introducing Artschwager, Christo, Hay, Watts; 4 E 77 St

June 6-30, 1964 -- Group Exhibition: Chamberlain, Lichtenstein, Rauschenberg, Scarpitta, Stella, Twombly, Tworkov; 4 E 77 St

1964-1965 SeasonSept. 26 - Oct. 22, 1964 -- Group Exhibition: Artschwager, Lichtenstein, Rosenquist, Stella, Warhol; 4 E 77 St

Oct. 24 - Nov. 19, 1964 -- Roy Lichtenstein, Landscapes; 4 E 77 St

Nov. 21 - Dec. 28, 1964 -- Andy Warhol, Flower Paintings; 4 E 77 St

Jan. 9-27, 1965 -- John Chamberlain, Paintings; 4 E 77 St

Jan. 30 - Feb. 24, 1965 -- Richard Artschwager; 4 E 77 St

Feb. 27 - Mar. 24, 1965 -- Nassos Daphnis; 4 E 77 St

Mar. 27 - Apr. 14, 1965 -- Salvatore Scarpitta, Racing Cars; 4 E 77 St

Apr. 17 - May 13, 1965 -- James Rosenquist, F-111; 4 E 77 St

May 15 - June 9, 1965 -- Robert Rauschenberg, Oracle; 4 E 77 St

1965-1966 SeasonOct. 2-21, 1965 -- Group Exhibition: [Chamberlain], Johns, Lichtenstein, Poons, Rauschenberg, Stella, [Warhol]; 4 E 77 St

Oct. 23 - Nov. 17, 1965 -- Robert Bart; 4 E 77 St

Nov. 20 - Dec. 11, 1965 -- Roy Lichtenstein, Brushstrokes and Ceramics; 4 E 77 St

Dec. 14, 1965 - Jan. 5, 1966 -- Benefit Drawing Exhibition for the Foundation for the Contemporary Performance Arts; 4 E 77 St

Dec. 14, 1965 - Jan. 5, 1966 -- Group Exhibition; 4 E 77 St

Jan. 8 - Feb. 2, 1966 -- Jasper Johns; 4 E 77 St

Feb. 5 - Mar. 2, 1966 -- Donald Judd; 4 E 77 St

Feb. 12 - Mar. 2, 1966 -- Cy Twombly, Drawings; 4 E 77 St

Mar. 5 - Apr. 2, 1966 -- Frank Stella; 4 E 77 St

Apr. 6-27, 1966 -- Andy Warhol, Wallpaper and Clouds; 4 E 77 St

Apr. 30 - May 25, 1966 -- James Rosenquist; 4 E 77 St

May 28 - June 13, 1966 -- Christo, Storefront; 4 E 77 St

June 14-30, 1966 -- Group Exhibition: Bontecou, Johns, Judd, Lichtenstein, Poons, Rauschenberg, Rosenquist, Stella, Warhol; 4 E 77 St

1966-1967 SeasonOct. 8 - Nov. 8, 1966 -- Lee Bontecou; 4 E 77 St

Nov. 12 - Dec. 3, 1966 -- Edward Higgins; 4 E 77 St

Dec. 6-10, 1966 -- Benefit Group Exhibition for Experiments in Art and Technology, Inc.; 4 E 77 St

Dec. 7, 1966 - Jan. 5, 1967 -- Stanley Landsman; 4 E 77 St

Dec. 14, 1966 - Jan. 5, 1967 -- Group Exhibition: Artschwager, Lichtenstein, Rosenquist, Warhol; 4 E 77 St

Jan. 7-31, 1967 -- Larry Poons; 4 E 77 St

Feb. 4-26, 1967 -- Tenth Anniversary Exhibition: Artschwager, Bontecou, Chamberlain, Daphnis, Higgins, Johns, Judd, Lichtenstein, Morris, Poons, Rauschenberg, Rosenquist, Scarpitta, Stella, Twombly, Warhol; 4 E 77 St

Mar. 4-28, 1967 -- Robert Morris; 4 E 77 St

Apr. 1967 -- New Work: Chamberlain, Lichtenstein, Stella; 4 E 77 St

May 1967 -- Robert Rauschenberg, Revolvers; 4 E 77 St

1967-1968 SeasonOct. 7-26, 1967 -- Cy Twombly; 4 E 77 St

Oct. 28 - Nov. 18, 1967 -- Roy Lichtenstein; 4 E 77 St

Nov. 25 - Dec. 23, 1967 -- Frank Stella; 4 E 77 St

Dec. 30, 1967 - Jan. 23, 1968 -- Richard Artschwager, Sculptures and Reliefs; 4 E 77 St

Jan. 27 - Feb. 17, 1968 -- Bruce Nauman; 4 E 77 St

Feb. 24 - Mar. 16, 1968 -- Jasper Johns; 4 E 77 St

Mar. 23 - Apr. 11, 1968 -- Ron Davis; 4 E 77 St

Apr. 20 - May 11, 1968 -- Robert Morris; 4 E 77 St

May 18 - June 8, 1968 -- Jack Krueger; 4 E 77 St

1968-1969 SeasonSept. 14-28, 1968 -- Nassos Daphnis; 4 E 77 St

Oct. 12-26, 1968 -- Robert Rauschenberg, White Paintings; 4 E 77 St

Nov. 2-23, 1968 -- Larry Poons; 4 E 77 St

Nov. 30 - Dec. 21, 1968 -- Cy Twombly; 4 E 77 St

Dec. 4-28, 1968 -- 9 at Leo Castelli: Anselmo, Bollinger, Hesse, Kaltenbach, Nauman, Saret, Serra, Sonnier, Zorio; 108th St Warehouse

Jan. 4-25, 1969 -- Donald Judd; 4 E 77 St

Feb. 1-22, 1969 -- John Chamberlain; 108th St Warehouse

Feb. 3-22, 1969 -- David Diao, Richard Pettibone, and Peter Young; 4 E 77 St

Mar. 1-22, 1969 -- Robert Morris; 4 E 77 St

Mar. 1-22, 1969 -- Robert Morris, A Continuous Project Altered Daily; 108th St Warehouse

Mar. 29 - Apr. 19, 1969 -- James Rosenquist, Horseblinders; 4 E 77 St

Mar. 29 - Apr. 19, 1969 -- Salvatore Scarpitta, Racing Cars; 108th St Warehouse

Apr. 26 - May 17, 1969 -- Robert Rauschenberg, Carnal Clocks; 4 E 77 St

Apr. 26 - May 17, 1969 -- Jack Krueger; 108th St Warehouse

May 24 - June 14, 1969 -- Bruce Nauman; 4 E 77 St

May 24 - June 21, 1969 -- 4 Painters for Spring: Bower, Cibula, Kalina, Roth, Yrisarry; 108th St Warehouse

June 21 - July 31, 1969 -- Group Exhibition: Chamberlain, Judd, Lichtenstein, Rauschenberg, Serra, Sonnier, Stella, Young; 4 E 77 St

1969-1970 SeasonSept. 20 - Oct. 11, 1969 -- Group Exhibition: Lichtenstein, Serra, Stella, Warhol; 4 E 77 St

Oct. 18 - Nov. 8, 1969 -- Ron Davis; 4 E 77 St

Oct. 18 - Nov. 8, 1969 -- Ron Davis; 108th St Warehouse

Nov. - Dec., 1969 -- Joseph Kosuth; 4 E 77 St

Nov. 13, 1969 -- Robert Rauschenberg, Moonshot Series (Castelli Graphics); 4 E 77 St

Nov. 18 - Dec. 6, 1969 -- Frank Stella; 4 E 77 St

Dec. 11-13, 1969 -- Benefit Exhibition, Art for the Moratorium; 4 E 77 St

Dec. 16, 1969 - Jan. 10, 1970 -- Richard Serra; 108th St Warehouse

Jan. 10-31, 1970 -- Jasper Johns, Drawings; 4 E 77 St

Jan. 17-24, 1970 -- Rafael Ferrer; 108th St Warehouse

Feb. 7-28, 1970 -- Dan Flavin, Tatlin Monuments; 4 E 77 St

Feb. 7-28, 1970 -- Robert Morris, Earthwork Projects (Castelli Graphics); 4 E 77 St

Mar. 7-28, 1970 -- Keith Sonnier; 4 E 77 St

Mar. 7-28, 1970 -- Keith Sonnier; 108th St Warehouse

Apr. 11 - May 9, 1970 -- Donald Judd; 4 E 77 St

Apr. 11 - May 9, 1970 -- Donald Judd; 108th St Warehouse

May 16-30, 1970 -- James Rosenquist; 4 E 77 St

June 11-27, 1970 -- Benefit Exhibition for the New York Studio School; 4 E 77 St

June 30 - Aug. 28, 1970 -- Group Exhibition: Chamberlain, Johns, Judd, Lichtenstein, Morris, Rauschenberg, Rosenquist, Stella, Twombly, Warhol; 4 E 77 St

1970-1971 SeasonSept. 19-26, 1970 -- Benefit Exhibition for Referendum '70: Daphnis, Flavin, Johns, Judd, Lichtenstein, Morris, Rauschenberg, Rosenquist, Stella, Twombly, Warhol; 4 E 77 St

Sept. 26 - Oct. 24, 1970 -- Roy Lichtenstein, New Editions: Lithographs, Sculpture, Reliefs (Castelli Graphics); 4 E 77 St

Oct. 3-18, 1970 -- Group Exhibition: Flavin, Judd, Lichtenstein, Rauschenberg, Stella, Twombly; 4 E 77 St

Oct. 24 - Nov. 14, 1970 -- James Rosenquist; 4 E 77 St

Nov. 21 - Dec. 12, 1970 -- Dan Flavin, Untitled (to Barnett Newman); 4 E 77 St

Dec. 19, 1970 - Jan. 9, 1971 -- Group Graphics Exhibition: Artschwager, Bontecou, Daphnis, Johns, Judd, Lichtenstein, Morris, Nauman, Rauschenberg, Rosenquist, Schlossberg, Stella, Twombly, Warhol (Castelli Graphics); 4 E 77 St

Jan. 16 - Feb. 6, 1971 -- Ron Davis; 4 E 77 St

Feb. 13 - Mar. 6, 1971 -- Bruce Nauman; 4 E 77 St

Mar. 13 - Apr. 9, 1971 -- Roy Lichtenstein, Mirror Paintings; 4 E 77 St

Apr. 17 - May 8, 1971 -- John Chamberlain; 4 E 77 St

Apr. 27 - May 8, 1971 -- Robert Barry; 4 E 77 St

May 8 - June 5, 1971 -- Douglas Huebler; 4 E 77 St

May 18 - June 12, 1971 -- Lee Bontecou; 4 E 77 St

June 26 - Sept. 24, 1971 -- Group Exhibition: Davis, Flavin, Kosuth, Lichtenstein, Rosenquist, Stella, Warhol; 4 E 77 St

1971-1972 SeasonSept. 25 - Oct. 9, 1971 -- Group Film Exhibition: Jonas, Morris, Nauman, Serra, Sonnier; 420 W Broadway

Oct. 2-16, 1971 -- Joseph Kosuth, The Eighth Investigation, Proposition Three; 4 E 77 St

Oct. 16 - Nov. 6, 1971 -- Robert Rauschenberg; 420 W Broadway

Oct. 23 - Nov. 13, 1971 -- Dan Flavin; 4 E 77 St

Nov. 20 - Dec. 11, 1971 -- Nassos Daphnis; 4 E 77 St

Nov. 20 - Dec. 11, 1971 -- Bruce Nauman; 420 W Broadway

Dec. 18, 1971 - Jan. [2], 1972 -- Group Film Exhibition; 420 W Broadway

Dec. 18, 1971 - Jan. 15, 1972 -- Lewis Baltz (Castelli Graphics); 4 E 77 St

Dec. 18, 1971 - Jan. 15, 1972 -- Richard Hamilton, Graphics (Castelli Graphics); 4 E 77 St

Jan. 15 - Feb. 5, 1972 -- Cy Twombly; 420 W Broadway

Jan. 22 - Feb. 12, 1972 -- Roy Lichtenstein, Entablature Drawings; 4 E 77 St

Jan. 22 - Feb. 12, 1972 -- Larry Stark (Castelli Graphics); 4 E 77 St

Feb. 12, 1972 -- Lawrence Weiner; 420 W Broadway

Feb. 19, 1972 -- Richard Landry, Concert; 420 W Broadway

Feb. 19 - Mar. 16, 1972 -- Object Show (Castelli Graphics); 4 E 77 St

Feb. 19 - Mar. 25, 1972 -- Group Exhibition: Flavin, Judd, Kosuth, Lichtenstein, Morris, Serra, Stella; 4 E 77 St

Feb. 26 - Mar. 18, 1972 -- Keith Sonnier, Films and Videotapes; 420 W Broadway

Mar. 18 - Apr. 13, 1972 -- Andy Warhol, Electric Chairs (Castelli Graphics); 4 E 77 St

Mar. 25 - Apr. 15, 1972 -- Michael Balog; 420 W Broadway

Apr. 1-15, 1972 -- Richard Artschwager; 4 E 77 St

Apr. 15-29, 1972 -- Robert Barry, Projections; 420 W Broadway

Apr. 15 - May 6, 1972 -- James Rosenquist (Castelli Graphics); 4 E 77 St

Apr. 18 - May 6, 1972 -- Robert Morris, Hearing; 420 W Broadway

Apr. 22 - May 13, 1972 -- Robert Morris, Projects; 4 E 77 St

May 6-20, 1972 -- Jasper Johns (Castelli Graphics); 4 E 77 St

May 6-20, 1972 -- Douglas Huebler; 420 W Broadway

May 13, 1972 -- Philip Glass, Concert; 420 W Broadway

May 20 - June 10, 1972 -- Frank Owen; 4 E 77 St

May 20 - June 10, 1972 -- Donald Judd and Richard Serra; 420 W Broadway

May 20 - June 12, 1972 -- Robert Rauschenberg, Tares (Castelli Graphics); 4 E 77 St

May 27 - June 17, 1972 -- Richard Serra, Drawings; 420 W Broadway

June 17 - Sept. 6, 1972 -- Summer Group Exhibition: Chamberlain, Judd, Lichtenstein, Morris, Stella, Twombly, Warhol; 420 W Broadway

June 17 - Sept. [23], 1972 -- Summer Group Exhibition: Chamberlain, Flavin, Judd, Lichtenstein, Morris, Rauschenberg, Rosenquist, Warhol; 4 E 77 St

1972-1973 SeasonSept. 7-23, 1972 -- Furniture Designed by Artists: Chamberlain, Judd, Lichtenstein, Morris, Stella, Twombly, Warhol; 420 W Broadway

Sept. 11-23, 1972 -- Larry Stark, Fifty States (Castelli Graphics); 4 E 77 St

Sept. 30 - Oct. 21, 1972 -- Group Drawing Exhibition: Barry, Bontecou, Daphnis, Flavin, Huebler, Johns, Judd, Kosuth, Lichtenstein, Morris, Nauman, Owen, Rauschenberg, Rosenquist, Ruscha, Serra, Sonnier, Stella, Twombly, Warhol; 4 E 77 St

Sept. 30 - Oct. 24, 1972 -- Satirical/Political Cartoons, Benefit for American Peace Action Coalition (Castelli Graphics); 4 E 77 St

Oct. 7-21, 1972 -- New Works: Judd, Morris, Nauman, Rauschenberg, Serra, Stella; Videotapes: Jonas, Landry, Mann, Morris, Nauman, Serra, Sonnier; 420 W Broadway

Oct. 27-28, 1972 -- Benefit Exhibition for the New York Collection for Stockholm; 420 W Broadway

Oct. 28 - Nov. 11, 1972 -- Frank Stella, Race Track (Castelli Graphics); 4 E 77 St

Oct. 28 - Nov. 15, 1972 -- Jasper Johns, From Robert Scull Collection (Castelli Graphics); 4 E 77 St

Nov. 4-25, 1972 -- Joseph Kosuth, The Ninth Investigation, Proposition One; 4 E 77 St

Nov. 4-25, 1972 -- Dan Flavin, an exposition of cool white and warm white circular fluorescent light; 420 W Broadway

Nov. 9-25, 1972 -- Andy Warhol, Mao Prints [Castelli Graphics]; 420 W Broadway

Nov. 18 - Dec. 9, 1972 -- Roy Lichtenstein, Mirrors (Castelli Graphics); 4 E 77 St

Dec. 2-23, 1972 -- Joseph Kosuth, Early Works: Protoinvestigations; 420 W Broadway

Dec. 2-24, 1972 -- Robert Rauschenberg, Made in Tampa [Castelli Graphics]; 4 E 77 St

Dec. 9-23, 1972 -- Gianfranco Gorgoni, Photographs from the book "The New Avant-Garde"; 420 W Broadway

Dec. 16-30, 1972 -- Cirrus Editions: Anderson, Balog, Card Celmins, Cooper, Goode, Nauman, Price, Ruscha (Castelli Graphics); 4 E 77 St

Jan. 4-6, 1973 -- Joan Jonas, Performance; 420 W Broadway

Jan. 6-27, 1973 -- Richard Serra, Prints from Gemini (Castelli Graphics); 4 E 77 St

Jan. 6-27, 1973 -- Frank Stella; 4 E 77 St

Jan. 13 - Feb. 3, 1973 -- Donald Judd; 420 W Broadway

Feb. 3-17, 1973 -- Edward Ruscha, Drawings; 4 E 77 St

Feb. 3-24, 1973 -- Group Show (Castelli Graphics); 4 E 77 St

Feb. 10 - Mar. 3, 1973 -- Jan Dibbets; 420 W Broadway

Feb. 24 - Mar. 10, 1973 -- Roy Lichtenstein, Still Lifes; 4 E 77 St

Mar. 3-23, 1973 -- Robert Rauschenberg, Horsefeathers XIII (Castelli Graphics); 4 E 77 St

Mar. 10-24, 1973 -- Nassos Daphnis, Retrospective 1958-1972; 420 W Broadway

Mar. 14-16, 1973 -- Lawrence Weiner, Film screening "A First Quarter"; 420 W Broadway

Mar. 17-31, 1973 -- Nassos Daphnis, Monoprints; 4 E 77 St

Mar. 17-31, 1973 -- Bruce Nauman, Floating Room; 4 E 77 St

Mar. 24 - Apr. 14, 1973 -- Bruce Nauman (Castelli Graphics); 4 E 77 St

Mar. 31 - Apr. 21, 1973 -- Dan Flavin, 40th Birthday Drawing Exhibition; 420 W Broadway

Mar. 31 - Apr. 21, 1973 -- Robert Rauschenberg, Venetian Series; 420 W Broadway

Apr. 7-28, 1973 -- Ellsworth Kelly, Curved Series; 4 E 77 St

Apr. 27 - May 19, 1973 -- Group Show, Mirrors (Castelli Graphics); 4 E 77 St

Apr. 28 - May 19, 1973 -- Hanne Darboven; 420 W Broadway

May 5-26, 1973 -- Paul Waldman, Recent Paintings; 4 E 77 St

May 19 - June 6, 1973 -- Laura Grisi, Pebbles; 420 W Broadway

May 26 - June 7, 1973 -- James Rosenquist, Horseblinders (Castelli Graphics); 4 E 77 St

May 26 - June 16, 1973 -- James Rosenquist; 420 W Broadway

June [3] - Sept. 15, 1973 -- Summer Group Exhibition: Darboven, Dibbets, Flavin, Huebler, Kosuth, Nauman, Rauschenberg, Rosenquist, Stella, Waldman, Warhol; 4 E 77 St

June 8-22, 1973 -- Don Judd, Woodcuts, Silkscreens (Castelli Graphics); 4 E 77 St

June 23 - Sept. 9, 1973 -- Roy Lichtenstein, Bulls (Castelli Graphics); 4 E 77 St

June 23 - Sept. 22, 1973 -- Summer Group Exhibition: Artschwager, Chamberlain, Davis, Kelly, Lichtenstein, Morris, Owen, Rauschenberg, Rosenquist, Stella; 420 W Broadway

1973-1974 SeasonSept. 10-28, 1973 -- Ellsworth Kelly, Black and White Prints from Gemini (Castelli Graphics); 4 E 77 St

Sept. 22 - Oct. 16, 1973 -- Group Exhibition: Flavin, Judd, Kelly, Lichtenstein, Rosenquist, Stella; 4 E 77 St

Sept. 29 - Oct. 20, 1973 -- Videotapes by Twelve Artists: Benglis, Chamberlain, Freed, Jonas, Kos, Landry, Mann, Morris, Nauman, Serra, Sonnier, Weiner; 420 W Broadway

Sept. 29 - Nov. 16, 1973 -- Stockholm Show (Castelli Graphics); 4 E 77 St

Oct. 18 - Nov. 10, 1973 -- Benefit Exhibition for the Committee to Save Venice: Cornell, Dine, Frankenthaler, Johns, Kelly, Lichtenstein, Louis, Noland, Oldenburg, Olitski, Rauschenberg, Stella; 4 E 77 St

Nov. 1-3, 1973 -- Group Film Exhibition: Chamberlain, Jonas, Ruscha, Weiner; 420 W Broadway

Nov. 1-14, 1973 -- Group Show: Artschwager, Lichtenstein, Rosenquist, Warhol; 420 W Broadway

Nov. 10 - Dec. 1, 1973 -- Douglas Huebler; 420 W Broadway

Nov. 15 - Dec. 1, 1973 -- Hans Namuth, Photographs; 420 W Broadway

Nov. 17 - Dec. 7, 1973 -- Lewis Baltz, Photographs (Castelli Graphics); 4 E 77 St

Nov. 17 - Dec. 15, 1973 -- Richard Artschwager; 4 E 77 St

Dec. 8, 1973 - Jan. 12, 1974 -- Group Show of New Prints: Balog, Petersen, Rauschenberg, Sonnier (Castelli Graphics); 4 E 77 St

Dec. 8, 1973 - Jan. 12, 1974 -- John Chamberlain; 420 W Broadway

Dec. 15, 1973 - Jan. 19, 1974 -- Edward Ruscha, Retrospective Show, Graphics from the Collection of Donald Marron (Castelli Graphics); 4 E 77 St (upstairs)

Jan. 12-26, 1974 -- [García] Uriburu (Castelli Graphics); 4 E 77 St

Jan. 19 - Feb. 9, 1974 -- Robert Barry; 420 W Broadway

Feb. 2-16, 1974 -- James Rosenquist (Castelli Graphics); 4 E 77 St

Feb. 2-23, 1974 -- Ron Davis; 4 E 77 St

Feb. 16 - Mar. 2, 1974 -- Group Drawing Exhibition: Artschwager, Bontecou, Chamberlain, Daphnis, Darboven, Davis, Flavin, Huebler, Johns, Judd, Kelly, Lichtenstein, Morris, Nauman, Oldenburg, Owen, Rauschenberg, Rosenquist, Ruscha, Serra, Stella, Twombly; 420 W Broadway

Feb. 23 - Mar. 9, 1974 -- Keith Sonnier, Video Still Screens (Castelli Graphics); 4 E 77 St

Mar. 2-23, 1974 -- Dan Flavin; 4 E 77 St

Mar. 9-30, 1974 -- Keith Sonnier, Amplified Local Time: Radio Installation; 420 W Broadway

Mar. 16 - Apr. 6, 1974 -- Bruce Nauman (Castelli Graphics); 4 E 77 St

Mar. 30 - Apr. 20, 1974 -- Edward Ruscha; 4 E 77 St

Apr. 6-20, 1974 -- Roy Lichtenstein (Castelli Graphics); 4 E 77 St

Apr. 6-27, 1974 -- Robert Morris, Voice; 420 W Broadway

Apr. 27 - May 11, 1974 -- Jasper Johns (Castelli Graphics); 4 E 77 St

Apr. 27 - May 18, 1974 -- Claes Oldenburg; 4 E 77 St

May 4-25, 1974 -- Robert Rauschenberg and Cy Twombly; 420 W Broadway

May 18 - June 1, 1974 -- Robert Rauschenberg, Pages and Fuses (Castelli Graphics); 4 E 77 St

May 28 - June 15, 1974 -- Lucia Wilcox; 4 E 77 St

June, 1974 -- Ron Davis (Castelli Graphics); 4 E 77 St

June, 1974 -- Richard Landry, Concert; 420 W Broadway

June 1-15, 1974 -- Group Video Exhibition: Acconci, Baldessari, Bell, Benglis, Campus, Gillette, Girouard, Haxton, Holt, Jonas, Kos, Landry, Mann, Morris, Oldenburg, Palestine, Serra, Smithson, Wegman (Castelli/Sonnabend Tapes + Films); 420 W Broadway

June 1-15, 1974 -- Richard Landry, Photographs (Castelli Graphics); 420 W Broadway

June 21 - Sept. 14, 1974 -- Group Exhibition: Darboven, Flavin, Judd, Lichtenstein, Morris, Oldenburg, Rauschenberg, Ruscha, Stella, Warhol; 4 E 77 St

June 21 - Sept. 14, 1974 -- Group Graphics Exhibition: Artschwager, Baltz, Bontecou, Daphnis, Huebler, Johns, Judd, Kelly, Lichtenstein, Morris, Nauman, Oldenburg, Petersen, Pistoletto, Rauschenberg, Rosenquist, Ruscha, Serra, Sonnier, Stella, Twombly, Warhol (Castelli Graphics); 420 W Broadway

1974-1975 SeasonSept. 21 - Oct. 4, 1974 -- Frank Stella, Eccentric Polygons (Castelli Graphics); 4 E 77 St

Sept. 21 - Oct. 5, 1974 -- Jasper Johns, Recent Four Panel Prints (Castelli Graphics); 4 E 77 St

Sept. 21 - Oct. 12, 1974 -- Group Sculpture Show, In Three Dimensions: Artschwager, Bontecou, Chamberlain, Daphnis, Flavin, Judd, Kelly, Lichtenstein, Morris, Nauman, Oldenburg, Rauschenberg, Rosenquist, Scarpitta, Serra, Sonnier, Stella, Waldman; 420 W Broadway

Oct. 5-19, 1974 -- Peter Mauss, Recent Photographs (Castelli Graphics); 4 E 77 St

Oct. 12-26, 1974 -- Richard Serra, Drawings; 4 E 77 St

Oct. 19 - Nov. 9, 1974 -- Lawrence Weiner; 420 W Broadway

Oct. 26 - Nov. 9, 1974 -- Claes Oldenburg, Selected Show of Prints from 1968-1974 (Castelli Graphics); 4 E 77 St

Nov. 2 - 30, 1974 -- Roy Lichtenstein, Artist's Studio Paintings; 4 E 77 St

Nov. 12-30, 1974 -- James Rosenquist, Selected Show of Prints from 1965-1974 (Castelli Graphics); 4 E 77 St

Nov. 16-30, 1974 -- Hanne Darboven, 24 Songs; 420 W Broadway

Nov. 21, 1974 -- Philip Glass, Concert; 420 W Broadway

Dec. 7-21, 1975 -- Robert Rauschenberg, Hoarfrost Series; 420 W Broadway

Dec. 7, 1974 - [Jan. 4], 1974 -- Michelangelo Pistoletto, New Multiples (Castelli Graphics); 4 E 77 St

Dec. 7, 1974 - Jan. 4, 1975 -- Robert Rauschenberg, Hoarfrost Editions (Castelli Graphics); 4 E 77 St

Dec. 14, 1974 - Jan. 11, 1975 -- Andy Warhol, Hand Colored Flowers (Castelli Graphics); 420 W Broadway

Jan. 4-18, 1975 -- Bruce Nauman, Cones/Cojones; 420 W Broadway

Jan. 11-25, 1975 -- Edward Ruscha, Domestic Tranquility, Four New Lithographs (Castelli Graphics); 4 E 77 St

Jan. 11 - Feb. 2, 1975 -- Salvatore Scarpitta, Sleds; 4 E 77 St

Jan. 15-18, 1975 -- Peter Campus and Paul Kos, Videotapes (Castelli/Sonnabend Tapes + Films); 420 W Broadway

Jan. 25 - Feb. 8, 1975 -- Joseph Kosuth, The Tenth Investigation, Proposition Four; 420 W Broadway

Feb. 1-15, 1975 -- Group Show: Huebler, Morris, Nauman, Sonnier (Castelli Graphics); 4 E 77 St

Feb. 8-22, 1975 -- Keith Sonnier, Air to Air; 4 E 77 St

Feb. 15 - Mar. 8, 1975 -- Nassos Daphnis, A Continuous Painting; 420 W Broadway

Feb. 26 - Mar. 1, 1975 -- Benefit Exhibition for the Merce Cunningham Portfolio: Cage, Johns, Morris, Nauman, Rauschenberg, Stella, Warhol; 4 E 77 St

Feb. 26 - Mar. 1, 1975 -- Joan Jonas and Charlemagne Palestine, Videotapes (Castelli/Sonnabend Tapes + Films); 420 W Broadway

Mar. 5-8, 1975 -- Frank Gillette and William Wegman, Videotapes (Castelli/Sonnabend Tapes + Films); 420 W Broadway

Mar. 8 - Apr. 5, 1975 -- Ellsworth Kelly, Sculptures; 4 E 77 St

Mar. 15-29, 1975 -- Richard Artschwager, Drawings; 420 W Broadway

Mar. 15-29, 1975 -- Larry Stark, Silkscreens on Canvas; 420 W Broadway

Mar. 15 - [Apr. 5], 1975 -- Richard Landry, "1, 2, 3, 4" from Videotapes (Castelli Graphics); 4 E 77 St

Apr. 2-5, 1975 -- Benefit Exhibition for the Allen Memorial Art Museum, Oberlin College; 420 W Broadway

Apr. 12-26, 1975 -- Ellsworth Kelly, New Prints (Castelli Graphics); 4 E 77 St

Apr. 12-26, 1975 -- Dan Flavin, Flourescent Light; 420 W Broadway

Apr. 12 - May 3, 1975 -- Ellsworth Kelly, Gray Series Paintings; 4 E 77 St

Apr. 19 - May 3, 1975 -- James Klosty, Around and About Merce Cunningham, Photographs 1968-1972; 420 W Broadway

May 3-17, 1975 -- Richmond Jones, Photographs (Castelli Graphics); 4 E 77 St

May 3-31, 1975 -- Frank Stella, Metal Reliefs; 420 W Broadway

May 10-31, 1975 -- Ron Davis, Paintings; 4 E 77 St

May 10-31, 1975 -- Laura Grisi, Stripes; 420 W Broadway

May 24 - June 7, 1975 -- Laura Grisi, New Graphics (Castelli Graphics); 4 E 77 St

June 7 - Sept. 5, 1975 -- Summer Group Exhibition: Artschwager, Chamberlain, Darboven, Grisi, Huebler, Judd, Kelly, Kosuth, Lichtenstein, Morris, Nauman, Owen, Rauschenberg, Rosenquist, Warhol; 420 W Broadway

June 7 - Sept. 20, 1975 -- Summer Group Exhibition, Black and White: Kelly, Rauschenberg, Ad Reinhardt, Serra, Stella; 4 E 77 St

June 14-28, 1975 -- Bruce Nauman, New Graphics (Castelli Graphics); 4 E 77 St

July 7-25, 1975 -- Group Exhibition (Castelli Graphics); 4 E 77 St

1975-1976 SeasonSept. 13-27, 1975 -- Autumn Group Exhibition: Artschwager, Chamberlain, Davis, Lichtenstein, Nauman, Oldenburg, Rauschenberg, Rosenquist, Scarpitta; 420 W Broadway

Sept. 27 - Oct. 18, 1975 -- James Rosenquist, Drawings; 4 E 77 St

Oct. 4-18, 1975 -- Robert Rauschenberg, Bones and Unions (Castelli Graphics); 4 E 77 St

Oct. 4-25, 1975 -- Jan Dibbets; 420 W Broadway

Oct. 11-25, 1975 -- Frank Owen; 420 W Broadway

Oct. 25 - Nov. 15, 1975 -- Hans Namuth, Photographs (Castelli Graphics); 4 E 77 St

Nov. 1-15, 1975 -- Robert Rauschenberg, Bones and Unions (Castelli Graphics); 420 W Broadway

Nov. 1-22, 1975 -- Roy Lichtenstein, Recent Paintings; 420 W Broadway

Nov. 22 - Dec. 13, 1975 -- Group Exhibition: Flavin, Judd, Kelly, Morris, Stella; 4 E 77 St

Nov. 29 - Dec. 20, 1975 -- Lewis Baltz, The New Industrial Parks Near Irving, CA, 1974 (a portfolio of 51 photographs) (Castelli Graphics); 420 W Broadway

Nov. 29 - Dec. 20, 1975 -- Paul Waldman, Recent Paintings; 420 W Broadway

Jan. 3-17, 1976 -- Ralph Gibson, Photographs (Castelli Graphics); 4 E 77 St

Jan. 10-24, 1976 -- Robert Barry, Recent Drawings; 420 W Broadway

Jan. 10-24, 1976 -- Alan Charlton; 420 W Broadway

Jan. 24 - Feb. 14, 1976 -- Jasper Johns; 4 E 77 St

Jan. 31 - Feb. 14, 1976 -- Peter Campus; 420 W Broadway

Jan. 31 - Feb. 14, 1976 -- Peter Campus and Frank Gillette, Videotapes (Castelli/Sonnabend Tapes + Films); 420 W Broadway

Feb. 10, 1976 -- Lawrence Weiner, Film screening, "A Second Quarter"; 420 W Broadway

Feb. 21 - Mar. 13, 1976 -- Robert Rauschenberg, Jammers; 420 W Broadway

Feb. 21 - Mar. 13, 1976 -- Keith Sonnier, Abaca Code; 420 W Broadway

Feb. 28 - Mar. 20, 1976 -- Joseph Cornell; 4 E 77 St

Mar. 20 - Apr. 10, 1976 -- Dan Flavin, Colored Fluorescent Light; 420 W Broadway

Mar. 20 - Apr. 10, 1976 -- Donald Judd; 420 W Broadway

Mar. 27 - Apr. 17, 1976 -- John Chamberlain; 4 E 77 St

Apr. 17 - May 8, 1976 -- Robert Morris; 420 W Broadway

Apr. 22-24, 1976 -- Benefit Drawing Exhibition for the New York Studio School; 4 E 77 St

Apr. 24 - May 15, 1976 -- Laura Grisi; 420 W Broadway

May 1-22, 1976 -- Hanne Darboven, For Jean-Paul Sartre; 4 E 77 St

May 15 - June 5, 1976 -- Douglas Huebler; 420 W Broadway

May 22 - June 12, 1976 -- Gianfranco Gorgoni, Photographs; 420 W Broadway

May 29 - June 12, 1976 -- Robert Adams, Photographs (Castelli Graphics); 4 E 77 St

June 19 - Sept. 10, 1976 -- Summer Group Exhibition: Artschwager, Chamberlain, Daphnis, Dibbets, Flavin, Judd, Kelly, Lichtenstein, Morris, Nauman, Noland, Oldenburg, Owen, Rauschenberg, Serra, Stella, Weiner; 420 W Broadway

June 26 - Sept. 10, 1976 -- Summer Group Drawing Exhibition: Artschwager, Barry, Bontecou, Darboven, Flavin, Morris, Ruscha; 4 E 77 St

1976-1977 SeasonSept. 11 - Oct. 2, 1976 -- Portraits: Cohen, Eggleston, Gibson, Gossage, Kelly, Namuth, Sonneman, Warhol (Castelli Graphics); 4 E 77 St

Sept. 15 - Oct. 2, 1976 -- Daniel Buren, To Transgress; 420 W Broadway

Sept. 25 - Oct. 16, 1976 -- Cy Twombly, Watercolors; 4 E 77 St

Oct. 9-30, 1976 -- Robert Morris, Black and White Felts; 420 W Broadway

Oct. 9-30, 1976 -- Paul Kos, Tokyo Rose (Castelli/Sonnabend Tapes + Films); 420 W Broadway (middle room)

Oct. 23 - Nov. 13, 1976 -- Kenneth Noland; 4 E 77 St

Nov. 2-27, 1976 -- Bruce Nauman; 420 W Broadway (back room)

Nov. 6 - Dec. 4, 1976 -- Claes Oldenburg; 420 W Broadway

Dec. 11-18, 1976 -- Poppy Johnson, Performance; 420 W Broadway (middle room)

Dec. 11-22, 1976 -- Group Exhibition: Chamberlain, Kelly, Lichtenstein, Noland, Oldenburg, Rauschenberg, Rosenquist, Stella, Warhol; 420 W Broadway

Jan. 8-29, 1977 -- Andy Warhol, Still Life Paintings and Drawings; 420 W Broadway

Feb. 5-26, 1977 -- Ellsworth Kelly; 420 W Broadway

Mar. 5-19, 1977 -- Robert Barry, Donald Judd, Robert Morris, and Keith Sonnier; 420 W Broadway

Mar. 5-26, 1977 -- Hans Namuth and Georg Reisner, Photographs from the Spanish Civil War; 4 E 77 St

Mar. 5-26, 1977 -- Beryl Korot, Text and Commentary (Castelli/Sonnabend Tapes + Films); 420 W Broadway (middle room)

Mar. 5 - Apr. 2, 1977 -- Robert Rauschenberg (Castelli Graphics); [4 E 77 St]

Mar. 26 - Apr. 16, 1977 -- Louis Cane; 420 W Broadway

Mar. 28, 1977 -- Brazos River: Videotape by Viola Farber, Robert Rauschenberg, and David Tudor; 420 W Broadway

Apr. 2-16, 1977 -- Frank Gillette, Mecox (Castelli/Sonnabend Tapes + Films); 420 W Broadway (middle room)

Apr. 23 - May 21, 1977 -- Robert Rauschenberg, Spreads and Scales; 420 W Broadway

Apr. 30 - May 21, 1977 -- Billy Apple, Extension of the Given; 420 W Broadway

May 7-28, 1977 -- Drawings: Artschwager, Flavin, Johns, Judd, Kelly, Lichtenstein, Morris, Nauman, Oldenburg, Rauschenberg, Rosenquist, Ruscha, Twombly, Waldman, Warhol (Castelli Graphics); 4 E 77 St

May 7-28, 1977 -- Drawings - Castelli Uptown; 420 W Broadway

May 28 - June [18], 1977 -- Mia Westerlund Roosen; 420 W Broadway

May 28 - Sept. 17, 1977 -- Summer Group Exhibition: Flavin, Judd, Kelly, Kosuth, Lichtenstein, Rauschenberg, Ruscha, Warhol; 420 W Broadway

1977-1978 SeasonSept. 24 - Oct. 15, 1977 -- James Rosenquist, Recent Paintings; 420 W Broadway

Oct. 15 - Nov. 12, 1977 -- Jasper Johns (Castelli Graphics); 4 E 77 St

Oct. 22 - Nov. 12, 1977 -- Architecture I: Abraham, Ambasz, Meier, Pichler, Rossi, Stirling, Venturi and Rauch; 420 W Broadway

Nov. 19 - Dec. 17, 1977 -- Roy Lichtenstein, Sculptures; 420 W Broadway

Nov. 25 - Dec. 17, 1977 -- William Eggelston, Color Photographs, 1966-1977 (Castelli Graphics); 420 W Broadway (middle room)

Jan. 7-28, 1978 -- Numerals 1924-1977; 420 W Broadway

Feb. 4-25, 1978 -- Bruce Nauman; 420 W Broadway (front room)

Feb. 4-25, 1978 -- Billy Apple, Extension of the Given; 420 W Broadway (front office)

Feb. 4-25, 1978 -- Dan Flavin; 420 W Broadway (middle room)

Feb. 4-25, 1978 -- Robert Barry, A Wall Drawing; 420 W Broadway (back room)

Mar. 4-25, 1978 -- Donald Judd; 420 W Broadway

Mar. 4-25, 1978 -- Paul Waldman; 420 W Broadway

Apr. 1-15, 1978 -- Keith Sonnier, Black Ground Series Drawings; 420 W Broadway (middle room)

Apr. 1-29, 1978 -- Hanne Darboven, Card-Index, Filing Cabinet; 420 W Broadway

Apr. 22-29, 1978 -- Barbaralee Diamonstein, Inside New York's Art World; 420 W Broadway (middle room)

May 6 - June 24, 1978 -- Joseph Cornell, Collages 1931-1972; 420 W Broadway

June 10-24, 1978 -- Alan Sonfist; 420 W Broadway (middle room)

July 5 - Sept. 23, 1978 -- Summer Group Exhibition: Dibbets, Flavin, Judd, Lichtenstein, Morris, Noland, Oldenburg, Rauschenberg, Ruscha, Serra, Sonnier; 420 W Broadway

1978-1979 SeasonSept. 30 - Oct. 21, 1978 -- Jan Dibbets, Structure Panoramas 1977-78; 420 W Broadway (front room)

Sept. 30 - Oct. 21, 1978 -- Douglas Huebler, Mediations; 420 W Broadway (middle room)

Oct. 28 - Nov. 18, 1978 -- Group Exhibition: Chamberlain, Johns, Kelly, Lichtenstein, Oldenburg, Rauschenberg, Rosenquist, Warhol; 420 W Broadway

Oct. 28 - Nov. 18, 1978 -- Laura Grisi; 420 W Broadway (middle room)

Dec. 2-20, 1978 -- Film/Video 1976-78: Baldessari, Benglis, Campus, Downey, Freed, Girouard, Haxton, Holt, Jonas, Kos, Rappaport, Wegman, Wiener (Castelli/Sonnabend Tapes + Films); 420 W Broadway

Jan. 6-27, 1979 -- Frank Stella, Indian Birds, Painted Metal Reliefs; 420 W Broadway

Feb. 3-24, 1979 -- Donald Judd, Survey of Work; 420 W Broadway

Mar. 3-24, 1979 -- Robert Morris, 6 Mirror Works; 420 W Broadway (front room)

Mar. 3-24, 1979 -- Robert Barry and Carole Gallagher, Again and Again; 420 W Broadway (middle room)

Mar. 31 - Apr. 21, 1979 -- Hans Namuth, Todos Santos: Portraits (Castelli Graphics); 4 E 77 St

Mar. 31 - Apr. 21, 1979 -- Lawrence Weiner; 420 W Broadway (front room)

Mar. 31 - Apr. 21, 1979 -- Mia Westerlund Roosen; 420 W Broadway (middle room)

Apr. 28 - May 19, 1979 -- Roy Lichtenstein, Recent Paintings; 420 W Broadway

May 26 - June 16, 1979 -- Joseph Kosuth, Text/Context (New York); 420 W Broadway

May 26 - June 16, 1979 -- Keith Sonnier, Expanded Sel Series; 420 W Broadway

June 23 - Sept. 15, 1979 -- Summer Group Exhibition: Andre, Daphnis, Flavin, Judd, Kelly, Lichtenstein, Morris, Noland, Owen, Rauschenberg, Ruscha, Serra, Stella, Twombly; 420 W Broadway

1979-1980 SeasonSept. 22 - Oct. 13, 1979 -- Richard Artschwager; 420 W Broadway

Oct. 20 - Nov. 10, 1979 -- Dan Flavin, 1960's and 1970's Installations; 420 W Broadway

Nov. 17 - Dec. 15, 1979 -- Kenneth Noland; 420 W Broadway

Jan. 5-19, 1980 -- Michele Zaza; 420 W Broadway (middle room)

Jan. 5-26, 1980 -- Hanne Darboven; 420 W Broadway

Jan. 19 - Feb. 9, 1980 -- Jasper Johns; 4 E 77 St

Jan. 22-26, 1980 -- Barbaralee Diamonstein, Inside New York's Art World (Castelli/Sonnabend Tapes + Films); 420 W Broadway (middle room)

Feb. 2-23, 1980 -- Salvatore Scarpitta; 420 W Broadway

Feb. 2-23, 1980 -- Charles Gaines, Falling Leaves; 420 W Broadway (middle room)

Feb. 19 - [Mar. 15], 1980 -- Leo Castelli: A New Space: Judd, Lichtenstein, Morris, Nauman, Rauschenberg, Serra, Stella; 142 Greene St

Mar. 1-22, 1980 -- Nassos Daphnis, Paintings From the 50's; 420 W Broadway

Mar. 1-22, 1980 -- Robert Barry, Wall Piece; 420 W Broadway (back office)

Mar. 29 - Apr. 19, 1980 -- Robert Rauschenberg; 420 W Broadway

Apr. [5] - May 10, 1980 -- Ellsworth Kelly, "Color Panels for a Large Wall," 1978, from the Central Trust Company, Cincinnati; 142 Greene St

Apr. 12 - May 3, 1980 -- Ellsworth Kelly, Prints 1978-1980 (Castelli Graphics); 4 E 77 St

Apr. 26 - May 17, 1980 -- Bruce Nauman; 420 W Broadway

Apr. 26 - May 17, 1980 -- Cletus Johnson, Theaters; 420 W Broadway (middle room)

May 17 - June 21, 1980 -- James Rosenquist; 420 W Broadway

May 24 - June 14, 1980 -- Claes Oldenburg; 142 Greene St

May 24 - June 14, 1980 -- Claes Oldenburg; 420 W Broadway

1980-1981 SeasonSept. 13 - Oct. 18, 1980 -- Group Exhibition: Lichtenstein, Nauman, Stella, Judd, Warhol, Kelly; 142 Greene St

Sept. 20 - Oct. 11, 1980 -- Edward Ruscha, New Paintings; 420 W Broadway (front room)

Sept. 20 - Oct. 11, 1980 -- Peter Young, Homage to Agnes Martin; 420 W Broadway

Sept. 27 - Oct. 18, 1980 -- Roy Lichtenstein (Castelli Graphics); 4 E 77 St

Oct. 18 - Nov. 22, 1980 -- Architecture II Houses For Sale: Ambasz, Eisenman, Gregotti, Isozaki, Moore, Pelli, Price, Ungers; 420 W Broadway

Oct. 25 - Nov. 15, 1980 -- Hans Namuth, Pollock Painting, 1950-1951 (Castelli Graphics); 4 E 77 St

Oct. 25 - Nov. 15, 1980 -- Robert Morris; 142 Greene St

Nov. 1980 -- Group Exhibition; 420 W Broadway (rear office)

Nov. 29 - Dec. 6, 1980 -- Barbaralee Diamonstein, American Architecture Now (Castelli/Sonnabend Tapes + Films); 420 W Broadway (middle room)

Nov. 29 - Dec. 13, 1980 -- Benefit Exhibition for Foundation for Contemporary Performance Arts, Inc.; 420 W Broadway

Nov. 29 - Dec. 20, 1980 -- James Turrell; 142 Greene St

Dec. 13-20, 1980 -- Group Installation: Huebler, Kosuth, Nauman, Sonnier; 420 W Broadway (middle room)

Jan. 10 - Feb. 7, 1981 -- Jasper Johns, Drawings 1970-1980; 420 W Broadway

Jan. 17 - Feb. 21, 1981 -- James Rosenquist, Star Thief; 142 Greene St

Feb. 14-28, 1981 -- Lawrence Weiner; 420 W Broadway (front room)

Feb. 14-28, 1981 -- Edward Ruscha, Drawings; 420 W Broadway (middle room)

Feb. 28 - Apr. 4, 1981 -- Richard Serra, Slice; 142 Greene St

Mar. 7-28, 1981 -- Paul Waldman; 420 W Broadway

Mar. 7-28, 1981 -- Laura Grisi; 420 W Broadway (middle room)

Mar. 12 - Apr. 4, 1981 -- Richard Serra, Film screenings, "Railroad Turnbridge" and "Steelmill/Stahlwerk" (Castelli/Sonnabend Tapes + Films); 142 Greene St

Apr. 4 - May 2, 1981 -- Julian Schnabel; 420 W Broadway

Apr. 4 - May 2, 1981 -- Douglas Huebler, Crocodile Tears; 420 W Broadway (middle room)

Apr. 11 - May 9, 1981 -- Ellsworth Kelly; 142 Greene St

Apr. 18 - May 9, 1981 -- Michael Harvey, Film screenings, "Sub Rosa" and "Dead Letter" (Castelli/Sonnabend Tapes + Films); 142 Greene St

May 13, 1981 -- Joan Jonas, Upsidedown and Backwards (Castelli/Sonnabend Tapes + Films); 142 Greene St

May 16-30, 1981 -- Artists' Benefit For the Trisha Brown Dance Company; 142 Greene St

May 16 - Sept. 4, 1981 -- Dan Flavin, Barred Corridors; 420 W Broadway

1981-1982 SeasonSept. 15 - Oct. 31, 1981 -- Donald Judd; 142 Greene St (lower gallery)

Sept. 19 - Oct. 10, 1981 -- Richard Serra (Castelli Graphics); 4 E 77 St

Sept. 19 - Oct. 10, 1981 -- Robert Barry and Carole Gallagher, Collaboration; 420 W Broadway

Oct. 17 - Nov. 7, 1981 -- Charles Gaines, Landscape: Assorted Trees with Regressions; 420 W Broadway

Oct. 17 - Nov. 7, 1981 -- Roy Lichtenstein; 420 W Broadway

Nov. 14 - Dec. 19, 1981 -- Richard Artschwager; 420 W Broadway

Nov. 17-21, 1981 -- Barbaralee Diamonstein, Visions and Images - American Photographers on Photography (Castelli/Sonnabend Tapes + Films); 420 W Broadway (middle room)

Nov. 21 - Dec. 12, 1981 -- Hermine Freed, Beads + Marbles [Castelli/Sonnabend Tapes + Films]; 142 Greene St (lower gallery)

Nov. 21 - Dec. 19, 1981 -- Hanne Darboven; 142 Greene St

Nov. 28 - Dec. 19, 1981 -- Eight Lithographs to Benefit the Foundation for Contemporary Performance Arts, Inc.; 420 W Broadway (middle room)

Nov. 28 - Dec. 23, 1981 -- Julian Schnabel; 142 Greene St

Jan. 9-30, 1982 -- Bruce Nauman, Violins, Violence, Silence; 142 Greene St

Jan. 9-30, 1982 -- Andy Warhol, Dollar Signs; 142 Greene St (lower gallery)

Jan. 9-30, 1982 -- Andy Warhol, Reversals; 420 W Broadway (front room)

Jan. 9 - Feb. 13, 1982 -- Hans Namuth, Portraits; 420 W Broadway (middle room)

Feb. 6-27, 1982 -- Claude Viallat; 142 Greene St

Feb. 6-27, 1982 -- Louis Cane; 420 W Broadway

Feb. 20 - Mar. 27, 1982 -- Dan Flavin, Donald Judd, Richard Serra; 420 W Broadway (middle room)

Mar. 6-27, 1982 -- Mia Westerlund Roosen; 142 Greene St

Mar. 6-27, 1982 -- David Salle; 420 W Broadway (front room)

Mar. 20-27, 1982 -- Sandro Chia; 142 Greene St (lower gallery)

Apr. 3-24, 1982 -- Richard Serra, "Marilyn Monroe-Greta Garbo," 1981,-(A Sculpture for Gallery-Goers.); 142 Greene St

Apr. 3-24, 1982 -- Joseph Kosuth; 420 W Broadway

Apr. 3-24, 1982 -- Richard Serra; 420 W Broadway

Apr. 3 - May 1, 1982 -- Frank Gillette; 142 Greene St

May 1-22, 1982 -- Keith Sonnier; 420 W Broadway

June 1 - Oct. 23, 1982 -- Summer Group Show: Chia, Johns, Kelly, Lichtenstein, Rauschenberg, Rosenquist, Ruscha, Salle, Schnabel, Stella, Warhol; 420 W Broadway

Summer 1982 -- Castelli and His Artists 25 Years; 420 W Broadway

1982-1983 SeasonSept. 11 - Oct. 9, 1982 -- 25th Anniversary Exhibition of Leo Castelli, Castelli and His Artists 25 Years: Artschwager, Barry, Bontecou, Chamberlain, Daphnis, Darboven, Dibbets, Flavin, Grisi, Huebler, Johns, Johnson, Judd, Kelly, Kosuth, Lichtenstein, Morris, Nauman, Oldenburg, Rauschenberg, Rosenquist, Ruscha, Salle, Scarpitta, Schnabel, Serra, Sonnier, Stella, Twombly, Waldman, Warhol, Weiner, Westerlund Roosen; 142 Greene St

Oct. 16-23, 1982 -- Barbaralee Diamonstein, Interior Design: The New Freedom; 142 Greene St

Oct. 16-23, 1982 -- Architectural Drawings and Models: Skowhegan School of Painting and Sculpture Charrette Competition Entries; 420 W Broadway

Oct. 16 - Nov. 6, 1982 -- Group Show: Flavin, Nauman, Oldenburg, Serra, Stella; 142 Greene St

Oct. 30 - Nov. 20, 1982 -- Frank Stella; 420 W Broadway

[Nov. 20 - Dec. 12, 1982] -- Salvatore Scarpitta, American Cycle: 1958-1982; 142 Greene St

Nov. 27 - Dec. 18, 1982 -- John Chamberlain; 420 W Broadway

Dec. 31, 1982 - Jan. 29, 1983 -- Robert Rauschenberg; 142 Greene St

Jan. 8-29, 1983 -- Margrete Sørensen; 142 Greene St (lower gallery)

Jan. 8-29, 1983 -- Robert Morris, Psychomachia; 420 W Broadway

Feb. 3-24, 1983 -- Robert Morris; 142 Greene St

Feb. 3-26, 1983 -- Diane Blell; 142 Greene St (lower gallery)

Feb. 5-26, 1983 -- Robert Longo; 142 Greene St

Feb. 5-26, 1983 -- Gerard Garouste; 420 W Broadway

Mar. 5-26, 1983 -- Robert Mapplethorpe; 142 Greene St

Mar. 5-26, 1983 -- Douglas Huebler; 142 Greene St (lower gallery)

Mar. 5-26, 1983 -- Nassos Daphnis; 420 W Broadway

Mar. 5-26, 1983 -- Sandy Skoglund; 420 W Broadway (middle room)

Apr. 2-23, 1983 -- Julian Schnabel; 142 Greene St

Apr. 2-23, 1983 -- Jan Dibbets; 420 W Broadway

Apr. 2-23, 1983 -- Ellsworth Kelly, Robert Morris, and Bruce Nauman; 420 W Broadway (middle room)

Apr. 30 - June 3, 1983 -- Donald Judd; 420 W Broadway

Apr. 30 - June 4, 1983 -- Sandro Chia; 142 Greene St

Apr. 30 - June 4, 1983 -- Julian Schnabel; 142 Greene St (lower gallery)

May 11 - June 30, 1983 -- Michael Smith, Government Approved Home Fallout snack bar (Castelli Graphics); 43 West 61st St

June [11] - Aug. [4], 1983 -- Drawings/Photographs; 420 W Broadway

Summer 1983 -- Summer Show, Sculpture; 142 Greene St

1983-1984 SeasonSept. 17 - Oct. 8, 1983 -- Robert Rauschenberg, Photogravures (Castelli Graphics); 4 E 77 St

Sept. 24 - Oct. 15, 1983 -- Ken Price; 420 W Broadway (front room)

Sept. 24 - Oct. 15, 1983 -- Robert Barry; 420 W Broadway (middle room)

Oct. 1-[22], 1983 -- James Rosenquist; 142 Greene St

Oct. 22 - Nov. 19, 1983 -- Architectural "Follies": Drawings and Models; 420 W Broadway

Oct. 29 - Nov. 5, 1983 -- Barbaralee Diamonstein, Handmade in America; 142 Greene St (lower gallery)

Nov. 12-26, 1983 -- Marvin Torffield, Pandora's Tears; 142 Greene St (lower gallery)

Dec. 3-17, 1983 -- 8 x 8 to Celebrate the Temporary Contemporary; 142 Greene St (lower gallery)

Dec. 3, 1983 - Jan. 14, 1984 -- Roy Lichtenstein, Greene St Mural; 142 Greene St

Dec. 3, 1983 - Jan. 14, 1984 -- Roy Lichtenstein; 420 W Broadway

Jan. 21 - Feb. 18, 1984 -- Ellsworth Kelly, Corten Wall Sculptures; 420 W Broadway

Jan. 28 - Feb. 25, 1984 -- Jasper Johns, Paintings; 142 Greene St

Feb. 18 - Mar. 10, 1984 -- Richard Serra; 420 W Broadway

Mar. 3-17, 1984 -- Artists Call Against US Intervention in Central America; 142 Greene St (lower gallery)

Mar. 3-31, 1984 -- Edward Ruscha; 142 Greene St

Mar. 10-31, 1984 -- Castelli Graphics 15th Anniversary Exhibition: Graphics, Photographs, Drawings, and Multiples (Castelli Graphics); 4 E 77 St

Mar. 17 - Apr. 7, 1984 -- David Salle; 420 W Broadway

Mar. 31 - Apr. 21, 1984 -- Lucio Pozzi; 142 Greene St (lower gallery)

Apr. 3-28, 1984 -- Dan Flavin; 142 Greene St

Apr. 14 - May 12, 1984 -- Paul Waldman; 420 W Broadway

Apr. 28 - May 19, 1984 -- Eve Sonneman; 142 Greene St (lower gallery)

May 19 - June 9, 1984 -- Jean-Charles Blais; 420 W Broadway

June 6, 1984 -- Michael Smith, Video: Go For It Mike (Castelli/Sonnabend Tapes + Films); 142 Greene St

June 15 - July 27, 1984 -- Summer Group Exhibition: Flavin, Judd, Kelly, Morris, Rauschenberg, Serra, Stella; 142 Greene St

June 23 - Sept. 8, 1984 -- Summer Group Exhibition: Artschwager, Blell, Chia, Johns, Judd, Kelly, Lichtenstein, Oldenburg, Rauschenberg, Rosenquist, Salle, Warhol; 420 W Broadway

1984-1985 SeasonSept. 15-29, 1984 -- Billy Apple, Survey: 1962-1974; 142 Greene St

Sept. 15 - Oct. 6, 1984 -- Hanne Darboven, Ansichten '82; 420 W Broadway

Oct. 6 - Nov. 3, 1984 -- Bruce Nauman; 142 Greene St

Oct. 13 - Nov. 10, 1984 -- Charles Simonds; 420 W Broadway

Oct. 19, [1984] -- Mitchell Kriegman, Video, "The Effect of Gravity on Dogs" (Castelli/Sonnabend Tapes + Films); 142 Greene St

Nov. 17 - Dec. 15, 1984 -- Donald Judd; 142 Greene St

Nov. 17 - Dec. 15, 1984 -- Keith Sonnier; 142 Greene St (lower gallery)

Nov. 17 - Dec. 15, 1984 -- Donald Judd; 420 W Broadway

Nov. 29 - Dec. 8, 1984 -- Cunningham Dance Foundation Benefit Art Sale; 420 W Broadway

Jan. 5-26, 1985 -- Sandro Chia; 420 W Broadway

Jan. 12 - Feb. 9, 1985 -- Robert Morris; 142 Greene St

Feb. 2-23, 1985 -- Richard Artschwager; 420 W Broadway

Feb. 16 - Mar. 23, 1985 -- Nassos Daphnis; 142 Greene St

Mar. 2-23, 1985 -- Joseph Kosuth; 420 W Broadway

Mar. 2-23, 1985 -- Ralph Gibson; 420 W Broadway (middle room)

Mar. 30 - Apr. 13, 1985 -- Group Exhibition: Flavin, Judd, Morris, Nauman, Serra, Warhol; 420 W Broadway (front room)

Mar. 30 - Apr. 13, 1985 -- Ellsworth Kelly, New Wall Reliefs; 420 W Broadway (middle room)

Mar. 30 - Apr. 20, 1985 -- Francesco Clemente; 142 Greene St

Apr. 20 - May 11, 1985 -- Gerard Garouste; 420 W Broadway (front room)

Apr. 20 - May 11, 1985 -- Charles Gaines; 420 W Broadway (middle room)

Apr. 27 - May 18, 1985 -- James Rosenquist; 142 Greene St

May 18 - June 15, 1985 -- Dan Flavin; 420 W Broadway (front room)

May 18 - June 15, 1985 -- Dianne Blell; 420 W Broadway (middle room)

June 22 - July 27, 1985 -- Summer Group Exhibition: Chia, Lichtenstein, Rosenquist, Serra, Sonnier, Warhol, Weiner, Westerlund Roosen; 142 Greene St

1985-1986 SeasonSept. 7-21, 1985 -- Group Exhibition: Artschwager, Ruscha, Salle, Scarpitta, Sonnier, Warhol, Weiner; 142 Greene St

Sept. 28 - Oct. 19, 1985 -- Keith Sonnier; 142 Greene St

Sept. 28 - Oct. 19, 1985 -- Jiri Georg Dokoupil; 420 W Broadway

Oct. 26 - Nov. 16, 1985 -- Keith Haring; 142 Greene St

Oct. 26 - Nov. 16, 1985 -- Bruce Nauman; 420 W Broadway (front room)

Oct. 26 - Nov. 16, 1985 -- Judy Tompkins; 420 W Broadway (middle room)

Nov. 15 - Dec. 7, 1985 -- Roy Lichtenstein, Landscapes (Castelli Graphics); 4 E 77 St

Nov. 23 - Dec. 21, 1985 -- Roy Lichtenstein; 420 W Broadway (front room)

Nov. 23 - Dec. 21, 1985 -- Gianfranco Gorgoni; 420 W Broadway (middle room)

Nov. 30 - Dec. 21, 1985 -- Mario Merz; 142 Greene St

Jan. 11 - Feb. 1, 1986 -- Hanne Darboven; 142 Greene St

Jan. 11 - Feb. 1, 1986 -- Group Exhibition: Chia, Judd, Nauman, Rauschenberg, Ruscha, Sonnier, Warhol, Westerlund Roosen; 142 Greene St (lower gallery)

Jan. 11 - Feb. 1, 1986 -- Robert Ryman; 420 W Broadway (front room)

Jan. 11 - Feb. 1, 1986 -- Douglas Huebler; 420 W Broadway (middle room)

Feb. 8 - Mar. 1, 1986 -- Laura Grisi; 142 Greene St

Feb. 8 - Mar. 1, 1986 -- Edward Ruscha; 420 W Broadway (front room)

Feb. 8 - Mar. 1, 1986 -- Nassos Daphnis; 420 W Broadway (middle room)

Mar. 8-29, 1986 -- Robert Combas; 420 W Broadway (front room)

Mar. 8-29, 1986 -- Dan Rodan; 420 W Broadway (middle room)

Mar. 8 - Apr. 5, 1986 -- Richard Serra, Prints; 142 Greene St

Apr. 5 - May 3, 1986 -- David Salle; 420 W Broadway

Apr. 5 - May 3, 1986 -- Jean Kallina; 420 W Broadway (office)

Apr. 12 - May 3, 1986 -- Miquel Barceló; 142 Greene St

May 10 - June 14, 1986 -- Robert Therrien; 420 W Broadway

May 17 - June 14, 1986 -- Joseph Kosuth, Selected Works, 1965-1986; 142 Greene St

June 14 - Sept. 13, 1986 -- Summer Group Exhibition: Barceló, Dokoupil, Kosuth, Morris, Moskowitz, Nauman, Oldenburg, Rauschenberg, Ruscha, Scarpitta, Serra, Stella, Warhol; 142 Greene St

June 14 - Sept. 13, 1986 -- Summer Group Exhibition: Artschwager, Blais, Blell, Brown, Chia, Combas, Gibson, Johns, Kelly, Kosuth, Lichtenstein, Morris, Nauman, Rauschenberg, Rosenquist, Ruscha, Ryman, Salle, Serra, Therrien; 420 W Broadway

1986-1987 SeasonSept. 19-27, 1986 -- The Law and Order Show; 420 W Broadway

Sept. 20 - Oct. 11, 1986 -- Mia Westerlund Roosen, Sculpture and Drawings, 1983-1986; 142 Greene St

Oct. 4-11, 1986 -- Barbaralee Diamonstein, Color Video Selections; 142 Greene St (lower gallery)

Oct. 4-25, 1986 -- James Brown; 420 W Broadway

Oct. 18-25, 1986 -- Skowhegan: A Ten-Year Retrospective; 142 Greene St

Nov. 1-22, 1986 -- Lawrence Weiner; 142 Greene St

Nov. [1]-22, 1986 -- Robert Therrien, 1st Installation; 142 Greene St (lower gallery)

Nov. 1-22, 1986 -- Robert Rauschenberg, Gluts; 420 W Broadway

Dec. 13, 1986 - Jan. 24, 1987 -- Claes Oldenburg, Coosje van Bruggen, and Frank Gehry, The Course of the Knife; 142 Greene St

Dec. 13, 1986 - Jan. 24, 1987 -- Claes Oldenburg, Coosje van Bruggen, and Frank Gehry, The Course of the Knife; 420 W Broadway

Jan. 31 - Mar. 7, 1987 -- XXXth Anniversary, the first fifteen years, part 1: Artschwager, Bontecou, Chamberlain, Daphnis, Johns, Kelly, Lichtenstein, Oldenburg, Rauschenberg, Rosenquist, Ruscha, Scarpitta, Stella, Twombly, Warhol; 142 Greene St

Jan. 31 - Mar. 7, 1987 -- Group Exhibition: Artschwager, Barceló, Flavin, Grisi, Simonds; 142 Greene St (lower gallery)

Jan. 31 - Mar. 7, 1987 -- Robert Therrien, 2nd Installation; 142 Greene St (lower gallery)

Jan. 31 - Mar. 7, 1987 -- Jasper Johns; 420 W Broadway

Mar. 7-28, 1987 -- Charles Gaines, Numbers + Trees; 142 Greene St

Mar. 14 - Apr. 4, 1987 -- XXXth Anniversary, the first fifteen years, part 2: Barry, Darboven, Dibbets, Flavin, Grisi, Huebler, Judd, Kosuth, Morris, Nauman, Serra, Sonnier, Waldman, Weiner; 142 Greene St

Mar. 14 - Apr. 4, 1987 -- Roy Lichtenstein; 420 W Broadway

Mar. 26 - May 2, 1987 -- Group Exhibition: Grisi, Nauman, Rauschenberg, Rosenquist, Warhol; 142 Greene St (lower gallery)

Apr. 18 - May 2, 1987 -- Jean-Charles Blais; 142 Greene St

Apr. 18 - May 9, 1987 -- Dan Flavin, A New Work; 420 W Broadway

Apr. 18 - May 9, 1987 -- Ti Shan Hsu; 420 W Broadway

May [9]-30, 1987 -- Group Show: Kosuth, Morris, Oldenburg, Serra, Stella, Therrien; 142 Greene St

May 12 - June 27, 1987 -- Robert Therrien, 3rd Installation; 142 Greene St (lower gallery)

May 16 - June 6, 1987 -- Richard Artschwager, Bruce Nauman, and Frank Stella; 420 W Broadway

June 4-13, 1987 -- Art Against Aids; 142 Greene St

June 20 - July 31, 1987 -- Andy Warhol; 142 Greene St

1987-1988 SeasonSept. 26 - Oct. 17, 1987 -- Richard Serra, Three Sculptures; 142 Greene St

Oct. 3-31, 1987 -- Miquel Barceló; 420 W Broadway

Oct. 24 - Nov. 14, 1987 -- Peter Schuyff; 142 Greene St

Nov. 7-28, 1987 -- Meyer Vaisman; 420 W Broadway

Nov. 21 - Dec. 19, 1987 -- Edward Ruscha; 142 Greene St

Nov. 21 - Dec. 19, 1987 -- Edward Ruscha; 420 W Broadway

Dec. 5-22, 1987 -- Similia/Dissimilia; 420 W Broadway

Jan. 9-30, 1988 -- Robert Morris; 142 Greene St

Jan. 9-30, 1988 -- Mike Bidlo, Picasso's Women; 142 Greene St (lower gallery)

Jan. 9-30, 1988 -- Richard Artschwager, Drawings; 420 W Broadway

Jan. 9-30, 1988 -- Group Exhibition: Artschwager, Kelly, Lichtenstein, Rosenquist, Ruscha, Warhol; 420 W Broadway

Feb. 6-27, 1988 -- Hanne Darboven; 142 Greene St

Feb. 6-27, 1988 -- Paul Waldman; 420 W Broadway (front room)

Feb. 6-27, 1988 -- Cletus Johnson; 420 W Broadway (middle room)

Mar. 5-12, 1988 -- School of Visual Arts Alumni Show, 1977-87; 142 Greene St

Mar. 5-26, 1988 -- Nassos Daphnis; 420 W Broadway

Mar. 26 - Apr. 16, 1988 -- Chryssa, Cityscapes 1980-88; 142 Greene St

Apr. 2-23, 1988 -- Gerard Garouste; 420 W Broadway

Apr. 23 - May 14, 1988 -- James Rosenquist; 142 Greene St

Apr. 30 - May 21, 1988 -- Robert Therrien; 420 W Broadway

May [28] - June 18, 1988 -- Richard Artschwager, His Peers and Persuasions, 1963-1988; 142 Greene St

May 28 - July 31, 1988 -- Frank O. Gehry, Furniture; 420 W Broadway

May 28 - July 31, 1988 -- Edward Ruscha, Drawings; 420 W Broadway

1988-1989 SeasonSept. 17 - Oct. 15, 1988 -- Joseph Kosuth; 578 Broadway

Sept. 17 - Oct. 22, 1988 -- The Last Show: Kelly, Lichtenstein, Serra, Stella; 142 Greene St

Sept. 24 - Oct. 15, 1988 -- Mike and Doug Starn; 420 W Broadway

Oct. 5 - Nov. 12, 1988 -- Jasper Johns, Bruce Nauman, and David Salle; 420 W Broadway

Oct. 22 - Nov. 19, 1988 -- Robert Cumming (Castelli Graphics); 578 Broadway

Oct. 22 - Nov. 19, 1988 -- Bruce Nauman and Richard Serra; 578 Broadway

Nov. 19 - Dec. 22, 1988 -- Robert Therrien; 420 W Broadway

Dec. 8-30, 1988 -- Benefit for Foundation for Contemporary Performing Arts, Inc.; 420 W Broadway

Circa 1989 -- Castelli Graphics 1969-1989 (Castelli Graphics); 4 E 77 St

Jan. 7-28, 1989 -- Keith Sonnier; 420 W Broadway

Jan. 7-28, 1989 -- Robert Barry; 578 Broadway

Feb. 4-25, 1989 -- Richard Artschwager; 420 W Broadway

Feb. 4-25, 1989 -- David Lynch; 578 Broadway

Mar. 4-25, 1989 -- James Rosenquist, Joseph Kosuth, and Meyer Vaisman; 420 W Broadway

Mar. 4-25, 1989 -- Dianne Blell; 578 Broadway

Apr. 1-22, 1989 -- James Brown; 578 Broadway

Apr. 1-29, 1989 -- Dan Flavin, To the Citizens of the Republic of France on the 200th Anniversary of their Revolution; 420 W Broadway

Apr. 8 - May 13, 1989 -- Walter De Maria; 65 Thompson

May 6-27, 1989 -- Edward Ruscha; 420 W Broadway (front room)

May 6-27, 1989 -- Charles Simonds, Wall Smears and Rocks; 420 W Broadway (middle room)

May 19 - July 1, 1989 -- Roy Lichtenstein, Bronze Sculpture 1976-1989; 65 Thompson

May 20 - June 10, 1989 -- Dan Flavin; 578 Broadway

June 3-24, 1989 -- Summer Group Show: Artschwager, Johns, Kosuth, Rosenquist, Ruscha, Salle, Sonnier, Starn Twins; 420 W Broadway (front room)

June 3-24, 1989 -- Mike and Doug Starn; 420 W Broadway (middle room)

1989-1990 SeasonSept. 16 - Oct. 14, 1989 -- Lewis Baltz (Castelli Graphics); 578 Broadway

Sept. 23 - Oct. 14, 1989 -- Richard Serra, 8 Drawings: Weights and Measures; 420 W Broadway

Oct. 14 - Nov. 30, 1989 -- Dan Flavin, (To Sabine) Fall, 1989; 65 Thompson

Oct. 21 - Nov. 11, 1989 -- Roy Lichtenstein, Reflections; 420 W Broadway

Oct. 21 - Nov. 11, 1989 -- Group Drawing Show: Artschwager, Barry, Brown, Flavin, Johns, Kelly, Kosuth, Lichtenstein, Morris, Nauman, Oldenburg, Rauschenberg, Rosenquist, Ruscha, Salle, Starn Twins, Therrien, Vaisman, Weiner; 578 Broadway

Nov. 18 - Dec. 21, 1989 -- Miquel Barceló, Paintings; 420 W Broadway

Nov. 18 - Dec. 21, 1989 -- Miquel Barceló, Drawings from Mali; 578 Broadway

Nov. 18 - Dec. 21, 1989 -- Recent Prints (Castelli Graphics); 578 Broadway

Dec. 1, 1989 - Feb. 24, 1990 -- Dan Flavin, (To Sabine) Winter, 1989; 65 Thompson

Jan. 6-27, 1990 -- Roni Horn, Thicket No. 1; 420 W Broadway

Jan. 6-27, 1990 -- Hanne Darboven, Requiem For M. Oppenheimer; 420 W Broadway (front room)

Jan. 6-27, 1990 -- The 60's Revisited: New Concepts/New Materials; 578 Broadway

Jan. 6-27, 1990 -- Edward Ruscha, Selected Portfolios (Castelli Graphics); 578 Broadway

Feb. 3-24, 1990 -- Nassos Daphnis, Thirty Years With Leo Castelli; 420 W Broadway (front room)

Feb. 3-24, 1990 -- Robert Therrien; 420 W Broadway (middle room)

Feb. 3-24, 1990 -- Douglas Huebler; 578 Broadway

Feb. 3-24, 1990 -- Robert Petersen, Selected Works (Castelli Graphics); 578 Broadway

Mar. 3-24, 1990 -- Bruce Nauman; 65 Thompson

Mar. 3-31, 1990 -- Bruce Nauman; 420 W Broadway

Mar. 3-31, 1990 -- Ellsworth Kelly, Portraits: Recent Prints from Gemini G.E.L. (Castelli Graphics); 578 Broadway

Mar. 3-31, 1990 -- Bernar Venet, Drawings Scale: 1 (Castelli Graphics); 578 Broadway

Apr. 1990 -- John Gutmann, Talking Picture; 578 Broadway

Apr. 7-28, 1990 -- Robert Morris; 420 W Broadway

Apr. 7-28, 1990 -- Taking the Picture: Photography and Appropriation; 578 Broadway

Apr. 7 - May 12, 1990 -- Hiroshi Teshigahara, Echizen Ware; 65 Thompson

May 5-26, 1990 -- Robert Rauschenberg, Currents '70 (Castelli Graphics); 578 Broadway

May 5 - June 2, 1990 -- Jan Dibbets; 420 W Broadway

May 12 - July 28, 1990 -- Ellsworth Kelly; 65 Thompson

June 9 - Sept. 15, 1990 -- Group Exhibition of Gallery Artists: Artschwager, Johns, Kosuth, Lichtenstein, Oldenburg, Rauschenberg, Rosenquist, Ruscha, Salle, Sonnier, Starn Twins, Stella, Vaisman, van Bruggen, Weiner; 420 W Broadway

1990-1991 SeasonSept. 22 - Oct. 13, 1990 -- Robert Barry; 420 W Broadway

Sept. 22 - Oct. 13, 1990 -- David Salle, Recent Prints (Castelli Graphics); 578 Broadway

Oct. 20 - Nov. 17, 1990 -- James Rosenquist; 420 W Broadway

Oct. 20 - Nov. 17, 1990 -- Cletus Johnson; 578 Broadway

Oct. 20 - Nov. 17, 1990 -- Roy Lichtenstein, Reflections Series (Castelli Graphics); 578 Broadway

Nov. 27, 1990 - Jan. 12, 1991 -- Claes Oldenburg and Coosje van Bruggen; 420 W Broadway

Nov. 27, 1990 - Jan. 12, 1991 -- Claes Oldenburg, Works from Gemini G.E.L., 1988-1990 (Castelli Graphics); 578 Broadway

Nov. 27, 1990 - Jan. 12, 1991 -- Robert Watts; 578 Broadway

Dec. 8, 1990 - Feb. 9, 1991 -- Frank Stella, New Work; 65 Thompson

Jan. 19 - Feb. 9, 1991 -- Lawrence Weiner; 420 W Broadway

Jan. 19 - Feb. 9, 1991 -- Chryssa; 420 W Broadway (middle room)

Jan. 19 - Feb. 9, 1991 -- Lewis Baltz, Rule without Exception (Castelli Graphics); 578 Broadway

Jan. 19 - Feb. 9, 1991 -- Hanne Darboven, Urzeit; 578 Broadway

Feb. 16 - Mar. 9, 1991 -- Jasper Johns; 420 W Broadway

[Feb. 16 - Mar. 9, 1991] -- [Robert Cumming; 578 Broadway]

Mar. 9 - Apr. 6, 1991 -- Robert Morris; 65 Thompson

Mar. 16 - Apr. 6, 1991 -- Richard Artschwager; 420 W Broadway

Mar. 16 - Apr. 6, 1991 -- James Brown, Prints (Castelli Graphics); 578 Broadway

Apr. 13 - May 4, 1991 -- Bertrand Lavier; 420 W Broadway

Apr. 13 - May 4, 1991 -- Roy Lichtenstein, Interior Series (Castelli Graphics); 578 Broadway

Apr. 13 - May 11, 1991 -- Group Drawing Show: Janie Lee Master Drawings; 65 Thompson

May 11-25, 1991 -- Edward Ruscha, Prints; 578 Broadway

May 11 - June 1, 1991 -- Edward Ruscha; 420 W Broadway

[May 11 - June 1, 1991] -- [Charles Simonds; 420 W Broadway (middle room)]

May 21 - [June 22], 1991 -- Robert Therrien; 65 Thompson

June 1-22, 1991 -- Charles Gaines; 578 Broadway

June 5-22, 1991 -- Group Drawings Exhibition; 578 Broadway

[July 16 - Nov. 9], 1991 -- Frank Stella; 65 Thompson

Summer 1991 -- Summer Group Exhibition: Artschwager, Flavin, Johns, Kelly, Lichtenstein, Nauman, Oldenburg, Rauschenberg, Rosenquist, Ruscha, Salle, Starn Twins, Stella, Therrien, Vaisman, Warhol, Weiner; 420 W Broadway

1991-1992 SeasonSept. 21 - Oct. 12, 1991 -- Dianne Blell, Wild Lives, Photographic Portraits Documenting Africa's Vanishing Wildlife; 420 W Broadway

Sept. 21 - Oct. 12, 1991 -- Group Exhibition: Johns, Kelly, Lavier, Lichtenstein, Starn Twins, Stella, Ruscha; 420 W Broadway (middle room)

Oct. 19 - Nov. 16, 1991 -- Paul Waldman; 420 W Broadway

Oct. 26 - Nov. 30, 1991 -- Robert Rauschenberg, Print Survey in Themes, 1952-1992; 578 Broadway

Nov. 23 - Dec. 14, 1991 -- Jean-Pierre Raynaud; 420 W Broadway

Dec. 14, 1991 - Feb. 1, 1992 -- Group Exhibition, Large Scale Prints: Kosuth, Morris, Nauman, Rauschenberg, Rosenquist, Serra, Starn Twins; 578 Broadway

Jan. 4-25, 1992 -- Pruitt-Early; 420 W Broadway

Feb. 1-29, 1992 -- Roy Lichtenstein, Interiors; 65 Thompson

Feb. 1-29, 1992 -- Roy Lichtenstein, Interiors; 420 W Broadway

Feb. 1-29, 1992 -- Leo Castelli XXXV Anniversary, Installation; 578 Broadway

Feb. 8-29, 1992 -- Salvatore Scarpitta, Early Works; 578 Broadway

Mar. 7-28, 1992 -- Laura Grisi; 420 W Broadway

Mar. 7-28, 1992 -- Hans Namuth; 578 Broadway

[Apr. - July], 1992 -- Elyn Zimmerman, Portals and Passages; 65 Thompson

Apr. 4-25, 1992 -- Keith Sonnier; 65 Thompson

Apr. 4-25, 1992 -- Charles Simonds, Stugg. Thebb?The Singing Monkey, 1992; 420 W Broadway

Apr. 4-25, 1992 -- Keith Sonnier; 420 W Broadway

Apr. 4-25, 1992 -- Keith Sonnier, Prints, Drawings and Multiples 1990-1992; 578 Broadway

May 2-23, 1992 -- Mike and Doug Starn; 420 W Broadway

May 9 - June 6, 1992 -- James Brown, Survey of Work 1986-1992; 578 Broadway

May 30 - June 13, 1992 -- Summer Group Exhibition: Flavin, Lichtenstein, Kosuth, Nauman, Rauschenberg, Warhol, Rosenquist, Ruscha, Salle, Starn Twins, Therrien; 420 W Broadway

June 6 - July 31, 1992 -- Group Exhibition, Drawings, Prints, Multiples, Photographs; 578 Broadway

June 23 - July 31, 1992 -- The Guggenheim in Europe: Architectural Models and Drawings; 420 W Broadway

Aug. 17 - Sept. 19, 1992 -- Summer Group Exhibition 1992, Part II: Artshwager, Lichtenstein, Kosuth, Nauman, Rauschenberg, Rosenquist, Ruscha, Salle, Starn Twins, Therrien, Warhol; 420 W Broadway

1992-1993 SeasonSept. 19 - Oct. 24, 1992 -- Dan Flavin, Donald Judd, Robert Morris, Minimalist Works; 578 Broadway

Sept. 26 - Oct. 17, 1992 -- Meyer Vaisman, Turkey; 420 W Broadway

Sept. 26 - Nov. 7, 1992 -- Group Architecture Exhibition, Angels and Franciscans: Innovative Architecture from Los Angeles and San Francisco; 65 Thompson

Oct. 24 - Nov. 14, 1992 -- Miquel Barceló; 420 W Broadway

Oct. 31 - Dec. 5, 1992 -- Bruce Nauman, Richard Serra, Keith Sonnier, Post-Minimal Works; 578 Broadway

Nov. 14, 1992 - Jan. 9, 1993 -- Andrew Lord, Modelling: A Sculpture of 27 Pieces and Related Works; 65 Thompson

Nov. 21 - Dec. 19, 1992 -- Ellsworth Kelly; 420 W Broadway (front room)

Nov. 21 - Dec. 19, 1992 -- Roy Lichtenstein, Waterlilies; 420 W Broadway (middle room)

Dec. 12, 1992 - Jan. 30, 1993 -- Group Sculpture Exhibit, Object Lessons; 578 Broadway

Jan. 9 - Feb. 6, 1993 -- Jasper Johns, 35 Years with Leo Castelli; 420 W Broadway

Jan. 16-23, 1993 -- Benefit for Cunningham Dance Foundation; 65 Thompson

Jan. 30 - Mar. 13, 1993 -- Richard Long; 65 Thompson

Feb. 6 - Mar. 6, 1993 -- Word Play: Darboven, Kosuth, Ruscha, Weiner; 578 Broadway

Feb. 13 - Mar. 13, 1993 -- Blind Color: Calle, Charlton, Klein, Manzoni, Rauschenberg, Richter, Rinehardt; 420 W Broadway

Feb. 13 - Mar. 13, 1993 -- Sophie Calle, Last Seen; 420 W Broadway

Mar. 20 - Apr. 17, 1993 -- Frank Stella and James Rosenquist, New Prints; 65 Thompson

Mar. 20 - Apr. 17, 1993 -- James Rosenquist; 420 W Broadway

Mar. 20 - Apr. 17, 1993 -- James Rosenquist, Prints from "Welcome to the Water Planet" and "House of Fire"; 578 Broadway

Mar. 20 - Apr. 17, 1993 -- Keith Sonnier, Robert Morris, and Robert Rauschenberg, Soft Ware; 578 Broadway

Apr. 24 - May 22, 1993 -- Hanne Darboven; 420 W Broadway

Apr. 24 - May 29, 1993 -- Group Exhibition, Graphic Works; 578 Broadway

May 15 - July 31, 1993 -- Summer Group Exhibition: Chamberlain, Long, Lord, Morris, Rauschenberg, Sonnier, Stella; 65 Thompson

May 29 - Oct. 2, 1993 -- British and American Sculpture: Cragg, Deacon, Kapoor, Long, Kelly, Nauman, Serra, Stella; 420 W Broadway

June 5 - July 24, 1993 -- Group Exhibition, Faces and Figures; 578 Broadway

1993-1994 SeasonSept. 25 - Oct. 23, 1993 -- Robert Morris; 65 Thompson

Sept. 25 - Oct. 23, 1993 -- Robert Morris, Blind Time Drawings; 578 Broadway

Sept. 25 - Nov. 27, 1993 -- Group Exhibition: Artschwager, Kosuth, Morris, Ruscha, Starn Twins, Vaisman; 578 Broadway

Oct. 16 - Nov. 6, 1993 -- Joseph Kosuth, The Thing-in-itself is found in its Truth through the loss of its immediacy; 420 W Broadway

Oct. 30 - Nov. 27, 1993 -- Charles Simonds, Retrospective; 578 Broadway

Nov. 12 - Dec. 4, 1993 -- Robert Therrien; 420 W Broadway

Dec. 3, 1993 - Jan. 15, 1994 -- Frank Stella, Moby Dick Deckle Edges (New Prints from Tyler Graphics); 578 Broadway

Dec. 4, 1993 - Jan. 15, 1994 -- Andrew Lord; 578 Broadway

Dec. 9, 1993 - Jan. 8, 1994 -- Benefit for Foundation for Contemporary Performance Arts; 420 W Broadway

Jan. 22 - Feb. 19, 1994 -- Bruce Nauman, Falls, Pratfalls, and Sleights of Hand; 420 W Broadway

Jan. 22 - Mar. 5, 1994 -- Robert Morris; 578 Broadway

Jan. 22 - Mar. 5, 1994 -- Bruce Nauman, Prints and Drawings; 578 Broadway

Feb. 26 - Apr. 2, 1994 -- Robert Rauschenberg, Scores (Off Kilter Keys); 65 Thompson

Feb. 26 - Apr. 2, 1994 -- Robert Rauschenberg, Scores (Off Kilter Keys); 420 W Broadway

Mar. 12 - Apr. 2, 1994 -- Barbaralee Diamonstein, Inside the New York Art World; 578 Broadway

Mar. 12 - Apr. 2, 1994 -- Group Exhibition: Lord, Nauman, Rauschenberg, Starn Twins, Stella, Therrien; 578 Broadway

Apr. 9 - May 7, 1994 -- Mike and Doug Starn, Spectroheliographs; 420 W Broadway

Apr. 9 - May 14, 1994 -- Lee Bontecou, Edward Higgins, and Robert Moskowitz, Sculpture and Painting from the Early 1960's; 578 Broadway

Apr. 30 - June 18, 1994 -- Sandro Chia, New Paintings; 65 Thompson

May 17 - June 11, 1994 -- Hannah Collins, Signs of Life; 420 W Broadway

May 21 - June 25, 1994 -- Jasper Johns, The Prints of Jasper John 1960-1993; 578 Broadway

June 18 - Sept. 10, 1994 -- Summer Group Exhibition; 420 W Broadway

July 5 - Oct. 8, 1994 -- Group Sculpture Exhibition, Major Works: Artschwager, Judd, Flavin, Lichtenstein, Nauman, Rauschenberg, Starn, Therrien; 578 Broadway

1994-1995 SeasonSept. 17 - Oct. 8, 1994 -- Richard Meier, Sculpture; 420 W Broadway

Oct. 8 - Nov. 12, 1994 -- Dan Flavin, Selected Works 1969-1990; 578 Broadway

Oct. 15 - Nov. 12, 1994 -- James Rosenquist; 420 W Broadway

Nov. 19 - Dec. 17, 1994 -- Roy Lichtenstein, Nudes; 420 W Broadway

Nov. 19 - Dec. 23, 1994 -- Roy Lichtenstein, Nudes: 9 Color Relief Prints; PACT 95 International America's Cup Class Yacht; 578 Broadway

Jan. 7-28, 1995 -- Lawrence Wiener, Stones + Stones + Stones; 420 W Broadway

Jan. 14 - Feb. 11, 1995 -- Robert Morris, Malaprops; The Fallen and the Saved; 578 Broadway

Feb. 4-25, 1995 -- James Brown; 420 W Broadway

Feb. 18 - Mar. 18, 1995 -- Richard Artshwager, Robert Therrien, and Edward Ruscha; 578 Broadway

Mar. 4-25, 1995 -- Kenneth Noland; 420 W Broadway

Mar. 25 - Apr. 29, 1995 -- Robert Rauschenberg, Tribute 21; 578 Broadway

Apr. 1-22, 1995 -- Hannah Collins; 420 W Broadway

Apr. 1-22, 1995 -- Edward Ruscha, Anamorphic Paintings; 420 W Broadway

Apr. 29 - May 20, 1995 -- Miquel Barceló; 420 W Broadway

May 6 - June 2, 1995 -- New Editions: Johns, Nauman, Rauschenberg, Ruscha; 578 Broadway

May 31 - June 30, 1995 -- Barbara Bloom, Pictures from the Floating World; 420 W Broadway

June 10 - July 8, 1995 -- Frank Stella, Imaginary Places (Castelli Graphics); 578 Broadway

June 10 - July 8, 1995 -- Summer Group Exhibition: Collins, Lichtenstein, Rauschenberg, Rosenquist, Ruscha, Vaisman; 578 Broadway

July 11 - Sept. 1, 1995 -- Summer Group Exhibition; 420 W Broadway

1995-1996 SeasonSept. 16 - Oct. 14, 1995 -- Group Sculpture Exhibition: Flavin, Judd, Kelly, Serra; 578 Broadway

Sept. 16 - Oct. 14, 1995 -- Edward Ruscha, Sayings, Puddinhead Wilson; 578 Broadway

Sept. 18 - Oct. 7, 1995 -- Hanne Darboven, South Korean Calendar; 420 W Broadway

Oct. 14 - Nov. 4, 1995 -- Nassos Daphnis, Energies in Outer Space; 420 W Broadway

Oct. 21 - Nov. 18, 1995 -- Joseph Kosuth, Editions The Past 10 Years; 578 Broadway

Nov. 11 - Dec. 16, 1995 -- Frank Stella, Free Standing Murals; 420 W Broadway

Dec. 2, 1995 - Jan. 13, 1996 -- Frank Stella, Editions; 578 Broadway

Jan. 13 - Feb. 3, 1996 -- Paul Waldman; 420 W Broadway

Jan. 30 - Feb. 10, 1996 -- Bailey House Auction; 578 Broadway

Feb. 10 - Mar. 9, 1996 -- Group Exhibition, New Works by Gallery Artists: Johns, Lichtenstein, Morris, Nauman, Rauschenberg, Rosenquist, Ruscha, Sonnier, Stella, Therrien; 420 W Broadway

Feb. 17 - Mar. 16, 1996 -- Collage - Gallery Artists: Brown, Darboven, Lichtenstein, Nauman, Rauschenberg, Ruscha, Starn Twins, Therrien, Vaisman; 578 Broadway

Mar. 16 - Apr. 13, 1996 -- Robert Therrien; 420 W Broadway

Mar. 23 - Apr. 20, 1996 -- Photography: Calle, Collins, Kosuth, Ruscha, Starn Twins, Therrien; 578 Broadway

Apr. 20 - May 18, 1996 -- James Rosenquist, Horizon Home Sweet Home; 420 W Broadway

Apr. 20 - May 24, 1996 -- Roy Lichtenstein, Eight New Prints; 578 Broadway

May 28 - July 26, 1996 -- Ralph Gibson, Infanta; 420 W Broadway

May 28 - July 26, 1996 -- Group Drawing Exhibition, Works on Paper: Chryssa, Daphnis, Darboven, Johns, Lichtenstein, Morris, Nauman, Rauschenberg, Ruscha, Serra, Stella, Sonnier, Therrien, Weiner; 420 W Broadway

June 1 - July 26, 1996 -- Summer Group Show: Johns, Kosuth, Lichtenstein, Ruscha, Stella, Therrien; 578 Broadway

1996-1997 SeasonSept. 14 - Oct. 12, 1996 -- Gianfranco Gorgoni, 25 Years of Artists Portraits; 578 Broadway

Sept. 14 - Oct. 12, 1996 -- Ellsworth Kelly, Prints; 578 Broadway

Sept. 28 - Oct. 26, 1996 -- Roy Lichtenstein, Landscapes in the Chinese Style; 420 W Broadway

Oct. 19 - Dec. 14, 1996 -- Jasper Johns, Prints 1960-1996 (Castelli Graphics); 578 Broadway

Nov. 2 - Dec. 14, 1996 -- Bruce Nauman, Bronze Heads and End of the World; 420 W Broadway

Jan. 11 - Feb. 8, 1997 -- Robert Morris, Horizons Cut Between Clio and Mnemosyne; 420 W Broadway

Jan. 18 - Feb. 22, 1997 -- Robert Therrien, Drawings; 578 Broadway

Jan. 18 - Feb. 22, 1997 -- Andy Warhol, Prints; 578 Broadway

Feb. 15 - Mar. 15, 1997 -- Lawrence Weiner, Then Now + Then; 420 W Broadway

Mar. 1-22, 1997 -- Dan Flavin; 578 Broadway

Mar. 22 - Apr. 26, 1997 -- Keith Sonnier, Alternating Currents; 420 W Broadway

Mar. 29 - Apr. 5, 1997 -- The Printmaking Workshop Benefit Exhibition and Auction; 420 W Broadway

Apr. 17 - May 17, 1997 -- Columbia University MFA Exhibition; 420 W Broadway

May 3 - June 7, 1997 -- Edward Ruscha, Cityscapes and "O" Books; 420 W Broadway

July - Sept., 1997 -- Summer Group Show: Kosuth, Morris, Serra; 420 W Broadway

1997-1998 SeasonSept. 27 - Oct. 18, 1997 -- Joseph Kosuth; 420 W Broadway

Oct. 25 - Nov. 15, 1997 -- 40 Years of Exploration and Innovation Part 1: Bontecou, Chryssa, Cornell, Johns, Lichtenstein, Oldenburg, Rauschenberg, Rosenquist, Ruscha, Twombly, Warhol; 420 W Broadway

Nov. 22 - Dec. 13, 1997 -- 40 Years of Exploration and Innovation Part 2: Daphnis, Flavin, Judd, Kelly, Morris, Serra, Stella, Therrien, Waldman; 420 W Broadway

Jan. 10-31, 1998 -- 40 Years of Exploration and Innovation Part 3: Barry, Darboven, Dibbets, Grisi, Huebler, Kosuth, Nauman, Scarpitta, Sonnier, Starn Twins, Weiner; 420 W Broadway

Feb. 7 - Mar. 14, 1998 -- Dan Flavin, Some Drawings and Installations of Fluorescent Light; 420 W Broadway

Mar. 28 - Apr. 25, 1998 -- Hannah Collins, True Stories; 420 W Broadway

May 2 - June 6, 1998 -- Mike and Doug Starn, Black Hole Sun Burned; 420 W Broadway

June 24 - Aug. 29, 1998 -- Summer Show; 420 W Broadway

1998-1999 SeasonSept. 26 - Oct. 31, 1998 -- Robert Morris, The Rationed Years; 420 W Broadway

Nov. - Dec., 1998 -- Joseph Kosuth, Richard Serra, Keith Sonnier; 420 W Broadway

Jan. - Feb. 1999 -- Robert Rauschenberg, Arcadian Survey; 420 W Broadway
Related Material:
Available in the Archives of America Art are three oral history interviews with Leo Castelli. Paul Cummings interviewed Castelli between May 14, 1969 and June 8, 1973; Barbara Rose in July, 1969; and Andrew Decker on May 22, 1997.
Separated Materials:
The Archives of American Art also holds items lent for microfilming (reel N68) including printed material. Lent material was returned to the lender and is not described in the collection container inventory.
Provenance:
Leo Castelli loaned printed material for microfilming in 1968. Leo Castelli's wife, Barbara Bortuzzo Castelli, and his children, Nina Castelli Sundell and Jean-Christophe Castelli, donated the Leo Castelli Gallery records to the Archives of American Art in 2007.
Restrictions:
Use of original records 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, Modern -- 20th century -- History -- New York (State)New York  Search this
Painting, Modern -- 20th century -- History -- New York (State)New York  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Interviews
Video recordings
Sketches
Transcripts
Sound recordings
Notes
Visitors' books
Photographs
Notebooks
Awards
Citation:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.leocast
See more items in:
Leo Castelli Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a74e5e8f-9538-4152-8f10-6561763eb241
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Milch Gallery records

Creator:
Milch Gallery  Search this
Names:
E. & A. Milch, Inc.  Search this
Milch Galleries  Search this
Vonnoh, Robert William, 1858-1933  Search this
Acheson, Alice  Search this
Adams, Charles L., 19th cent  Search this
Adams, Wayman, 1883-1959  Search this
Aiken, Charles Avery, 1872-1965  Search this
Albee, Grace  Search this
Anderson, Karl, 1874-1956  Search this
Appel, Marianne, 1913-1988  Search this
Archipenko, Alexander, 1887-1964  Search this
Arms, John Taylor, 1887-1953  Search this
Ascher, Mary G. (Mary Goldman), b. 1900  Search this
Azzaretti, Faust  Search this
Bacon, Peggy, 1895-1987  Search this
Baer, Martin, 1895-1961  Search this
Ballin, Hugo, 1879-1956  Search this
Barlow, Myron, 1873-1937  Search this
Barmore, Charles  Search this
Barr, Charles H.  Search this
Barr, Norman, 1908-  Search this
Barrymore, Lionel, 1878-1954  Search this
Baumann, Gustave, 1881-1971  Search this
Beal, Reynolds, 1866-1951  Search this
Bellows, George, 1882-1925  Search this
Benson, Frank Weston, 1862-1951  Search this
Biddle, George, 1885-1973  Search this
Blackburn, Morris, 1902-1979  Search this
Blakelock, Ralph Albert, 1847-1919  Search this
Blanch, Arnold, 1896-1968  Search this
Blanch, Lucile, 1895-1981  Search this
Bluemner, Oscar, 1867-1938  Search this
Blumenschein, Ernest Leonard, 1874-1960  Search this
Bohm, Max, 1868-1923  Search this
Bohrod, Aaron  Search this
Bosa, Louis, 1905-  Search this
Breckenridge, Hugh H. (Hugh Henry), 1870-1937  Search this
Bridgman, Frederick Arthur, 1847-1928  Search this
Browne, George Elmer, 1871-1946  Search this
Bruce, Edward, 1879-1943  Search this
Brush, George de Forest, 1855-1941  Search this
Buck, Claude, 1890-1974  Search this
Burlin, Paul, 1886-1969  Search this
Burr, George Elbert, 1859-1939  Search this
Butler, Howard Russell, 1856-1934  Search this
Calder, Alexander Stirling, 1870-1945  Search this
Carroll, John, 1892-1959  Search this
Chamberlain, Samuel, 1895-1975  Search this
Cheffetz, Asa, 1896-1965  Search this
Christy, Howard Chandler, 1873-1952  Search this
Cole, Alphaeus Philemon, 1876-1988  Search this
Congdon, William, 1912-1998  Search this
Crane, Bruce, 1857-1937  Search this
Curran, Charles C. (Charles Courtney), 1861-1942  Search this
Daingerfield, Elliott, 1859-1932  Search this
Davey, Randall, 1887-1964  Search this
De Groot, Adelaide Milton, b. 1876  Search this
DeCamp, Joseph, 1858-1923  Search this
Dehn, Adolf, 1895-1968  Search this
Dessar, Louis Paul, 1867-1952  Search this
Dewing, Thomas Wilmer, 1851-1938  Search this
Diederich, William Hunt, 1884-1953  Search this
Dike, Phil, 1906-1990  Search this
Donoho, Gaines Ruger, 1857-1916  Search this
Duncan, Charles, b. 1892  Search this
Eakins, Susan Macdowell  Search this
Etnier, Stephen, 1903-1984  Search this
Farnsworth, Jerry, 1895-1982  Search this
Fenton, Beatrice, 1887-1983  Search this
Feshin, Nikolaĭ Ivanovich, 1881-1955  Search this
Fitzgerald, James, 1899-1971  Search this
Flagg, James Montgomery, 1877-1960  Search this
Fredenthal, David, 1914-1958  Search this
French, Daniel Chester, 1850-1931  Search this
Fuchs, Emil, 1866-1929  Search this
Gallagher, Sears, 1869-1955  Search this
Ganso, Emil, 1895-1941  Search this
Gaspard, Leon, 1882-1964  Search this
Genth, Lillian Mathilde, 1876-1953  Search this
Gonzalez, Xavier, 1898-1993  Search this
Greenwood, Marion, 1909-1970  Search this
Gregory, John, 1879-1958  Search this
Gregory, Waylande, 1905-1971  Search this
Grosz, George, 1893-1959  Search this
Halpert, Samuel, 1884-1930  Search this
Hart, George Overbury, 1868-1933  Search this
Hartmann, Sadakichi, 1867-1944  Search this
Haskell, Ernest, 1876-1925  Search this
Hassam, Childe, 1859-1935  Search this
Heerman, Norbert Leo, b. 1891  Search this
Heinz, Charles, 1885-1955  Search this
Hennings, E. Martin, 1886-1956  Search this
Henri, Robert, 1865-1929  Search this
Hopkinson, Charles, 1869-1962  Search this
Ireland, Leroy, 1889-1970  Search this
Judson, Alice, d. 1948  Search this
Kalish, Max, 1891-1945  Search this
Katz, A. Raymond (Alexander Raymond), 1895-1974  Search this
Kingman, Dong, 1911-  Search this
Kroll, Leon, 1884-1974  Search this
Kronberg, Louis, 1872-1965  Search this
Kupferman, Lawrence Edward, 1909-1982  Search this
Laufman, Sidney, 1891-  Search this
Lawson, Ernest, 1873-1939  Search this
Lever, Hayley, 1876-1958  Search this
Lie, Jonas, 1880-1940  Search this
Linde, Ossip L.  Search this
Low, Will Hicok, 1853-1932  Search this
Lucioni, Luigi, 1900-  Search this
Lutz, Dan, 1906-  Search this
MacRae, Emma Fordyce, 1887-1974  Search this
Manship, Paul, 1885-1966  Search this
Melchers, Gari, 1860-1932  Search this
Metcalf, Willard Leroy, 1858-1925  Search this
Meyerowitz, William, 1887-1981  Search this
Milch, Albert, 1881-1951  Search this
Milch, Edward, 1865-1954  Search this
Moffett, Ross  Search this
Mora, F. Luis (Francis Luis), 1874-1940  Search this
Moran, Thomas, 1837-1926  Search this
Murphy, Hermann Dudley, 1867-1945  Search this
Murphy, John Francis, 1853-1921  Search this
Myers, Jerome, 1867-1940  Search this
Nagler, Edith Kroger, 1890-1986  Search this
Oberteuffer, Karl A. (Karl Amiard), 1908-1958  Search this
Ochtman, Leonard, 1854-1934  Search this
Parshall, DeWitt, 1864-1956  Search this
Pearson, Ralph M., 1883-1958  Search this
Perrine, Van Dearing, 1868 or 9-1955  Search this
Pittman, Hobson Lafayette, 1899 or 1900-1972  Search this
Pleissner, Ogden M.  Search this
Pollet, Joseph C., 1897-1979  Search this
Pousette-Dart, Nathaniel, 1886-1965  Search this
Pugh, Mabel, b. 1891  Search this
Pène Du Bois, Guy, 1884-1958  Search this
Redfield, Edward Willis, 1869-1965  Search this
Ritschel, William, 1864-1949  Search this
Romano, Umberto, 1906-  Search this
Rungius, Carl, 1869-1959  Search this
Ryder, Chauncey F., 1868-1949  Search this
Ryerson, Margery  Search this
Sample, Paul, 1896-1974  Search this
Sawyer, Wells, 1863-1960  Search this
Schofield, Walter Elmer, 1867-1944  Search this
Shapiro, David, 1916-  Search this
Sharp, Joseph Henry, 1859-1953  Search this
Sheets, Millard, 1907-1989  Search this
Shuster, Will  Search this
Speicher, Eugene Edward, 1883-1962  Search this
Speight, Francis, 1896-1989  Search this
Sterne, Maurice, 1878-1957  Search this
Sterner, Albert, 1863-1946  Search this
Tanner, Henry Ossawa, 1859-1937  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Trebilcock, Paul, 1902-1981  Search this
Tryon, Dwight William, 1849-1925  Search this
Twachtman, John Henry, 1853-1902  Search this
Ufer, Walter, 1876-1936  Search this
Varian, Dorothy, 1895-1985  Search this
Warneke, Heinz (Heinrich), 1895-1983  Search this
Watkins, Franklin Chenault, 1894-1972  Search this
Waugh, Frederick Judd, 1861-1940  Search this
Weir, John F. (John Ferguson), 1841-1926  Search this
Weir, Julian Alden, 1852-1919  Search this
White, Henry Cooke, 1861-1952  Search this
Wickey, Harry  Search this
Wiggins, Carleton, 1848-1932  Search this
Wiles, Irving Ramsay, 1861-1948  Search this
Woodward, Robert Strong, 1885-1957  Search this
Woodward, Stanley Wingate, 1890-1970  Search this
Wyeth, Andrew, 1917-2009  Search this
Zucker, Jacques, 1900-  Search this
Extent:
42.2 Linear feet
Type:
Collection descriptions
Archival materials
Gallery records
Photographs
Date:
1911-1995
Summary:
The records of Milch Gallery measure 42.5 linear feet and date from 1911-1995. Edward Milch (1865-1953) opened the Edward Milch Gallery in New York City. In 1916, he formed a partnership with his brother Albert Milch (1881-1951), a gilder and framer, creating E. & A. Milch, Inc., a gallery specializing in American art. Harold C. Milch (1904-1981), Albert's son, was appointed a partner in 1944 and continued the business until his death. Business records of Milch Gallery, 1911-1968, include correspondence, sales records, inventories, financial records, printed matter, photographs, and legal documents. Later additions to the records date from 1922-1995 and include correspondence; artists' files; financial, sales, and stock records; printed material; and photographs.
Scope and Content Note:
The records of Milch Gallery document the business transactions of the corporation and the professional and personal relationships of the Milch brothers with the artists they represented, as well as with the larger community of artists and art dealers between 1911 and 1995. Unfortunately, early correspondence is sparse. In a letter responding to a 1951 request for historical information, Milch replied: "Several years ago [1947] we had to give up our gallery at 108 West 57th Street, and move to smaller quarters here. Since we had no room for old records, we had to destroy most of them."

Alphabetical files are comprised mainly of incoming correspondence from 1911 to 1962. Correspondence concerns arrangements for exhibitions, sales and consignments, advice to collectors and executors of estates, and routine business matters. A number of the artists represented in these files were friends of the Milch brothers and some of their letters mention their personal lives as well as their formal business with the Gallery. Collectors who routinely dealt with Milch Galleries included John Gellatly, Mary Blair, Hersey Egginton, Carlton Palmer, and Edward Coykendell; a three volume manuscript catalogue of Coykendell's collection is included. Among the estates handled by Milch were Willard Metcalf, John Twachtman, Abbott H. Thayer, Maurice Fromkes, and Thomas Moran.

Also found are sales records and other financial records such as general ledgers, sales and purchase records, and tax information.

Printed matter consists of gallery exhibition catalogs, checklists, invitations, announcements, publications, and scrapbooks. Many catalogs and checklists are annotated with prices and other information. A complete run of Milch Galleries Art Notes, issued intermittently from 1918-1928/29 is preserved with the gallery records. as is a scrapbook relating to early exhibitions held at the Edward Milch Galleries and E. & A. Milch, Inc., and artists represented by them.

Photographs included with the records are less voluminous than might be expected, and pictures of works of art predominate. There are also a very small number of exterior and interior photographs of Milch Gallery, photographs of people including artists, Edward and Albert Milch, and photographs of groups such as Ten American Artists and the Associated Dealers in American Paintings.

The 1995 and 2014 additions measure 3 linear feet and date from 1922-1995. Milch Gallery activities are documented through correspondence; artists' files; financial, sales, and stock records; printed material; and photographs.

See Appendix for a list of Milch Gallery exhibitions and checklists
Arrangement:
Records of the Milch Gallery are organized into seven series. With the exception of the alphabetical files, records are arranged by record type and then chronologically. Photographs are categorized by subject, with pictures of individuals arranged alphabetically by name, and works of art arranged alphabetically by artist.

Missing Title

Series 1: Alphabetical Files, 1911-1962

Series 2: Sales Records and Inventories, 1911-1969, undated

Series 3: Financial Records, 1914-1980, undated

Series 4: Printed Matter, 1996, 1910-1967, undated

Series 5: Photographs, 1903-circa 1944, undated

Series 6: Miscellaneous, 1916-1970, undated

Series 7: Addition to the Milch Gallery Records, 1922-1995 (Boxes 60-65, 3 linear feet)
Historical Note:
Between 1911 and 1916, prior to the establishment of the Milch Galleries, Austrian immigrant Edward Milch (1865-1953) operated the Edward Milch Galleries at 939 Madison Avenue 1911, mainly handling prints and providing framing services.

Albert Milch (1881-1951) was employed by a gilder and later a picture framer before becoming the business partner of his older brother. In 1916 they incorporated as E. & A. Milch (with Edward as President and Albert as Secretary of the corporation) and opened the Milch Galleries at 108 West 57th Street, New York City. During their partnership, Edward served as President and Albert as Secretary of the corporation. According to Joseph Gotlieb, a long-time employee, during this period Montross Gallery became inclined toward modern French art and the American artists associated with them began searching for galleries more sympathetic to their interests. "As Albert Milch was a framemaker to several of them, and as he was opening a new gallery in 1916 to specialize in American Art, some artists decided to let the Milch Galleries, and others, handle their work. It turned out to be a good arrangement for both sides, and a successful one" (letter from Joseph S. Gotleib to Susan Hobbs [National Museum of American Art], December 30, 1977).

From the beginning, Milch Galleries dealt in American art almost exclusively, representing living artists, handling the estates of recently deceased artists; in addition they acquired nineteenth century works for resale and accepted pieces on commission. Although framing and restoration services continued to be offered to customers, this aspect of the business soon diminished in importance.

Harold C. Milch (1904-1981), Albert's son, was affiliated with the business, and upon his father's retirement was appointed partner; after Albert died in 1951, Harold was sole proprietor, serving as both President and Secretary.

Milch Galleries moved to smaller quarters at 55 East 57th Street in 1947, and ten years later to 21 East 67th Street. In 1967, the name was changed to Milch Gallery and the business relocated to 1014 Madison Avenue. The gallery dissolved upon the death of Harold Milch. A third brother, David C. Milch, was also an art dealer, but was not associated with Milch Gallery.

Missing Title

1911 -- Edward Milch Galleries opens at 939 Madison Ave.

1912 -- First exhibition at Edward Milch Galleries

1916 -- Incorporation of E. & A. Milch; Edward Milch, President, and Albert Milch, Secretary; change of name to Milch Galleries and relocation to 108 West 57th St.

1918 -- Milch Galleries Art Notes begins publication

1944 -- Edward Milch retires; Albert Milch President, and Harold C. Milch [son of Albert], Secretary

1947 -- Milch Galleries moves to 55 East 57th St.

1951 -- Death of Albert Milch (1881-1951); Harold C. Milch, President and Secretary

1953 -- Death of Edward Milch (1865-1953)

1957 -- Milch Galleries moves to 21 East 67th St.

1966 -- Archives of American Art begins acquiring records of the Milch Galleries (gifts and loans from Milch Galleries)

1967 -- Relocation to 1014 Madison Ave., and name change to Milch Gallery

1981 -- Death of Harold C. Milch (1904-1981)

1986 -- Archives of American Art receives the bulk of Milch Gallery records (gift of Salander-O'Reilly Galleries)
Appendix: List of Milch Gallery Exhibitions and Checklists:
Items marked with an asterisk (*) are contained in the scrapbook rather than with the Milch Gallery exhibition catalogs.

Missing Title

Nov. 16-Dec. 7, 1912* -- Exhibition of 300 Original Sketches in Oil by 100 Well Known American Artists

Feb. 15-March 8, 1913* -- Glimpses of Nature We Love to See, Feast, and Dwell On

April 28-May 7, 1913* -- Portraits of Children and Grown-Ups by Miss Susan Ricker Knox

Oct. 18-Nov. 1, 1913* -- Small Paintings and Bronzes

Oct. 18-Nov. 1, 1913* -- Exhibition of Paintings and Sculptures by Noted American Artists

Feb. 9-21, 1914* -- Paintings by W. Herbert Dunton of The Old West

Oct. 17-31, 1914* -- Portraits in Oil, Miniatures, and Sculpture

Feb. 20-March 7, 1915* -- Paintings and Etchings by Gordon Mallet McCouch

April 26-May 8, 1915* -- Paintings by Frew W. Kost, N.A.

Nov. 7-19, 1915 -- Paintings and Sculpture by Matilda Browne

Nov. 15-30, 1915* -- Views of the Panama California Exposition and Landscapes of Southern California

Jan. 31-Feb. 12, 1916 -- Paintings by Garber, Pearson, Lathrop, and Spencer

Feb. 14-26, 1916* -- Landscapes by Walter Clark, N.A.

Feb. 14-26, 1916* -- Paintings by Guy Wiggins

Nov. 4-18, 1916* -- Opening Exhibition

Nov. 25-Dec. 9, 1916* -- Works by the Late Louis Loeb

Jan. 15-27, 1917* -- Paintings by Helen M. Turner

Jan. 30-Feb. 10, 1917* -- Paintings by Leonard Ochtman, N.A.

Feb. 14-24, 1917* -- Recent Paintings by William V. Schevill

March 6-24, 1917 -- Ten American Painters

March 13-24, 1917* -- George Bellows

March 14-24, 1917* -- Paintings by Frederick J. Waugh

March 26-April 7, 1917* -- Paintings by Howard Russell Butler, N.A.

April 10-21, 1917 -- Paintings by Harry F. Waltman and Howard Giles, and Sculptures by Willard D. Paddock

April 15-27, 1917* -- Paintings by Valentino Molina

April 24-May 5, 1917* -- Paintings by Thalia Millet

Oct. 27-Nov. 17, 1917* -- William Jean Beauley

Jan. 15-Feb. 15, 1918* -- Etchings, Dry-Point and Lithographs by Ernest Haskell

Jan. 28-Feb. 4, 1918 -- Sketches and Paintings by the "Nova Scotia Group"

Feb. 25-March 16, 1918* -- Paintings by Robert Henri

March 13-24, 1918 -- George Bellows

March 22-April 4, 1918* -- Paintings by H. Gabrielle Levey

April 8-, 1918* -- Etchings by Allen Lewis

Nov. 25-Dec. 16, 1918* -- Paintings by Edward H. Potthast, N.A.

Dec. 18-Jan. 16, 1918 -- Annual Holiday Exhibition of Selected Paintings of Limited Size by American Artists

Dec. 23-Jan. 10, 1919* -- Etchings and Dry-Points by Ernest Haskell

Jan. 13-25, 1919* -- Paintings by Mary Prindeville

Jan. 27-Feb. 13, 1919* -- With the A.E.F., Paintings and Drawings Made at the Front by S. J. Woolf

Feb. 14-26 [1919?]* -- Paintings by Arthur C. Goodwin

Feb. 18-March 1, 1919* -- Paintings by Jerome Myers

March 3-16, 1919* -- Recent Paintings of California by William Ritschel, N.A.

March 17-29, 1919 -- Recent Paintings by Lillian Genth, A.N.A.

March 28-April 9, 1919* -- Drawings of New York City by Peter Marcus

April 8-30*, 1919 -- Paintings by Leading American Artists

April 19-May 1*, 1919 -- Paintings by Valentino Molina

May 3-22, 1919 -- Recent American Sculpture

May 5-17*, 1919 -- Recent American Sculpture in Bronze, Wood, and Terra Cotta for the Town and Country House, the Grounds, and Garden

May 20-, 1919 -- Flag Pictures and Street Scenes by Childe Hassam

Nov. 16-Dec. 6, 1919 -- Childe Hassam

Nov. 17-Dec. 6, 1919 -- Exhibition of Works in the Various Mediums by Childe Hassam

Dec. 18-Jan. 16, 1920 -- Annual Holiday Exhibition of Selected Paintings of Limited Size by American Artists

Dec. 29-Jan. 15, 1920* -- Portraits and Other Paintings by Royston Nave

Feb. 2-14, 1920 -- George Biddle

Feb. 2-14, 1920* -- Oil Paintings, Water Colors, Pastels, Monotypes, Silver-Points and Etchings by George Biddle

Feb. 16-28, 1920* -- Paintings by Ossip L. Linde

March 1-12, 1920 -- Bruce Crane

March 1-13, 1920 -- Bruce Crane, A.N.A.

March 15-April 3, 1920 -- Willard L. Metcalf

April 5-20, 1920 -- Paintings

April 8-30 [1920] -- Exhibition of Paintings by Leading American Artists

April 15-May 1, 1920 -- Valentino Molina

Oct. 18-30 [1920?]* -- Paintings of New England and Drawings of the Devastated Towns of Flanders by George Wharton Edwards

Nov. 1-13, 1920 -- Six American Painters [Clark, Potthast, Snell, Nichols, Olinsky, and Volkert

Nov. 1-15, 1920 -- Paintings by Theresa F. Bernstein

Nov. 15-27, 1920 -- Childe Hassam

Nov. 21-Dec. 3, 1920* -- Sculpture by Gleb Derujinsky

Dec., 1920* -- Exhibition by George Biddle

Dec. 1-21, 1920 -- Etchings and Color Etchings by William Meyerowitz

Dec. 27-Jan. 28, 1921 -- Albert Delbert Smith

circa 1920 -- Ossip L. Linde

circa 1920 -- William Meyrowitz

circa 1920 -- Exhibition

Jan. 10-29, 1921 -- Exhibition of Paintings by Brush, Crane, Dewing, Metcalf, Hassam, and Murphy

Jan. 31-Feb. 12, 1921 -- American Art

Feb. 14-26, 1921 -- Guy Wiggins

Feb. 14-26, 1921 -- Arthur G. Goodwin

Feb. 28-March 12, 1921 -- Paintings by Robert Henri

March 14-April 9, 1921 -- Paintings by Gari Melchers

March 28-April 9, 1921 -- Peter Marcus

April 11-23, 1921* -- Portraits and Figure Paintings by Edith Catlin Phelps

April 11-30, 1921 -- Paintings by Willard Metcalf

May 2-30, 1921 -- American Sculpture for the Town and Country House, the Garden, and the Grounds

Oct. 18-30 [1921?]* -- Paintings and Drawings by George Wharton Edwards

Oct. 24-Nov. 5, 1921 -- Portraits and Paintings of Old New Orleans by Wayman Adams

Nov. 7-19, 1921 -- Flower Paintings and Sculpture by Mathilde Browne

Nov. 7-19, 1921 -- Paintings in Oil and Water Color by George H. Clements

Nov. 19-Dec. 3, 1921 -- Sculpture-Gleb Derujinsky

Dec. 5-31, 1921 -- Works by Abbott H. Thayer, Including Important Paintings, Water Colors, and Drawings

circa 1921 -- Exhibition

Jan. 9-21, 1922 -- Paintings by Katherine Langhorne Adams

Jan. 9-21, 1922 -- Paintings of California by Douglass Ewell Parshall

Feb. 13-March 4, 1922 -- Paintings of Cape Ann by Harry A. Vincent, A.N.A.

March 6-25, 1922* -- Pastels of the Cascapedia River, Canada, by Arthur C. Goodwin

March 6-25, 1922 -- Connecticut Landscape Paintings by Wilson Irvine

March 27-April 15, 1922* -- Moonlight Motifs: Garden of the Gods, Colorado and Other Paintings by Robert Reid, N.A.

Dec. 26-Jan. 13, 1923 -- Paintings and Pastels by Henry C. White

Jan. 15-27, 1923* -- Paintings of Spain by William J. Potter

Jan. 29-Feb. 10, 1923 -- Water Colors of the South Sea Islands by William Ritschel, N.A.

Feb. 12-March 3, 1923 -- Paintings by Willard L. Metcalf

March 5-31, 1923 -- Paintings of the Far East by Leon Gaspard

March 19-31, 1923* -- Landscape Paintings by Guy Wiggins, A.N.A.

April 2-21, 1923* -- Portrait Drawings by Ercole Cartotto

April 19-May 6, 1923 -- Paintings by Leading American Artists

Oct. 1-20, 1923 -- Paintings by Sidney E. Dickinson, A.N.A.

Oct. 22- Nov. 3, 1923 -- Paintings and Sculpture by Mathilda Brown (Mrs. Frederick Van Wyck)

Nov. 5-17, 1923 -- Memorial Exhibition of Paintings by William Gedney Bunce

Dec. 11-23, 1923* -- Water Colors by James Montgomery Flagg

Jan. 14-26, 1924 -- Exhibition of Nudes, Portraits, Landscapes and Genre by Eugene Paul Ullman

Feb. 18-March 8, 1924 -- Paintings by Willard L. Metcalf

March 27-April 5, 1924 -- Connecticut Landscapes by Guy Wiggins, A.N.A.

Dec. 1-27, 1924 -- Maurice Fromkes

Jan. 5-17, 1925 -- Paintings of the Pacific Coast by Armin Hansen

Jan. 19-31, 1925 -- Martha Walter

Feb. 16-March 7, 1925 -- Willard L. Metcalf

March 9-21, 1925 -- John Noble

March 23-April 11, 1925 -- Bruce Crane

May 4-16, 1925 -- Brynjulf Strandenaes Exhibition of Portraits

May 18-30, 1925 -- Paintings by Robert Brackman

Dec. 7-31, 1925 -- Paintings by the Late Willard Metcalf

Dec. 7-21, 1925 -- Sketches by Dorothea A. Dreier,

Jan. 11-23, 1926 -- Recent Landscape Paintings by Frank V. Du Mond

Jan. 25-Feb. 13, 1926 -- Smaller Paintings by Max Bohm

Feb. 15-March 6, 1926 -- Paintings of the Sea by William Ritschel

April 13-May 2, 1926 -- Jonas Lie

April 26-May 15, 1926 -- Landscapes and Street Scenes by William Jean Beauley

Nov. 15-27, 1926 -- California Marine Paintings and Water Colors by Armin Hansen

Nov. 29-Dec. 18, 1926 -- Water Colors by Frank W. Benson

Nov. 29-Dec. 18, 1926 -- Silver-Point Drawings by Ercole Cartotto

Jan. 10-22, 1927 -- Portraits by Millie Bruhl Frederick (Mrs. Leopold Fredrick)

Jan. 24-Feb. 12, 1927 -- Paintings of Cornwall and Devonshire by W. Elmer Schofield

Jan. 24-Feb. 12, 1927 -- Etchings by Teresa Cerutti Simmons, Watercolors by Will Simmons

Feb. 14-March 5, 1927 -- Sculpture by Heinz Warneke

March 28-April 16, 1927 -- Paintings by Henry Golden Dearth

April 18-30, 1927 -- Decorative Flower Paintings by Olin Howland

April 18-30, 1927 -- Recent Water Colors by John Whorf of Boston

Oct. 10-28, 1927 -- Decorative Embroideries by Georgiana Brown Harbeson

Nov. 14-26, 1927 -- Pastels and Etchings of Cambodia and China by Lucille Douglass

Nov. 28-Dec. 24, 1927 -- Works by Gari Melchers

Nov. 28-Dec. 24, 1927 -- Sculpture by Max Kalish

Dec. 26-Jan. 14, 1928 -- Water Color Exhibition of West African Native Types by Erick Berry; Also a Group of West African Pottery and Brass Figures Made by the Natives of Nigeria

Dec. 29-Jan. 14, 1928 -- Paintings by Joacb Dooyewaard

Jan. 14-26, 1928 -- Decorative Paintings by Jane Peterson

Feb. 7-April 29, 1928 -- Alfred Hutty

Feb. 13-25, 1928 -- Water Colors by Alice Judson

March 12-24, 1928 -- Etchings of Ancient Dances by Teresa Cerutti-Simmons and Wild Life by Will Simmons

March 12-24, 1928 -- An Important Exhibition of Paintings and Pastels by John H. Twachtman

March 12-24, 1928 -- Sculpture by Heinz Warnecke

March 26-April 14, 1928 -- Water Colors by John Whorf

April, 1928 -- Water Colors by William Ritschel, N.A.

April 15-May 5, 1928 -- Portrait Drawings in Pastel by Jessie Voss Lewis

Oct. 22-Nov. 3, 1928 -- Water Colors of France and Italy, and Etchings by Louis Wolchonok

Oct. 22-Nov. 3, 1928 -- Poetic Landscapes with Figures by Henry M. Rosenberg of Nova Scotia

Nov. 19-Dec. 1, 1928 -- Water Colors by Frank W. Benson

Nov. 19-Dec. 1, 1928 -- Water Colors of Architectural Subjects in France, Also Landscape and Figures by William de Leftwick Dodge

Dec. 1-28, 1928 -- Alfred Hutty

Dec. 3-24, 1928 -- Important Exhibition of Early and Recent Works by Childe Hassam of the American Academy of Arts and Letters

Dec. 3-24, 1928 -- Still Life Paintings by Ruth Payne Burgess

Dec. 20-Jan. 8, 1929 -- Drawings by Frank di Gioia

Dec. 20-Jan. 8, 1929 -- Memorial Exhibition, Water Color Sketches by Thomas Moran, N.A.

Dec. 27-Jan. 14, 1929 -- Erick Berry

Dec. 27-Jan. 14, 1929 -- Helen K. McCarthy Memorial Exhibition

Dec. 29-Jan. 14, 1929 -- Paintings by Jacob Dooyewaard

circa 1928 -- Indian and Animal Pictures and Bronzes by Edwin Willard Deming

Jan. 28-Feb. 9, 1929 -- Painitings of Western Life by F. Tenney Johnson

Jan. 28-Feb. 9, 1929 -- Paintings and Water Colors by Alice Judson

Feb. 11-23, 1929 -- Paintings and Drawings by Max Bohm

Feb. 11-23, 1929 -- Landscapes and Marines by Jay Connaway

Feb. 25-March 9, 1929 -- Water-Colors by Harold Putnam Browne

Feb. 25-March 9, 1929 -- Paintings by Truman Fassett

March 11-23, 1929 -- Recent Water Colors by C.E. Polowetski

March 11-23, 1929 -- Louis Ritman

March 25-April 6, 1929 -- Landscapes by Frank Vincent Du Mond

March 25-April 6, 1929 -- Water Colors by Armin Hansen of California

March 25-April 6, 1929 -- Sculptures by Roy Sheldon

April 8-20, 1929 -- Water Colors by John Whorf, Distinguished Young Boston Artist

Oct. 21-Nov. 2, 1929 -- Corners in Spain, An Exhibition of Paintings by Wells M. Sawyer

Nov. 4-17, 1929 -- Recent Sculpture by Heinz Warnecke

Nov. 4-16, 1929 -- Paintings of Ireland and Other Scenes by Power O'Malley

Nov. 18-30, 1929 -- Group of Recent Paintings by Hayley Lever

Nov. 18-30, 1929 -- Recent Water Colors and Etchings by Louis Wolchonok

Dec. 2-21, 1929 -- Paintings by Maurice Fromkes

Jan. 30-Feb. 11 [192?] -- Water Colors of Greek Temples in Sicily by Wm. De Leftwich Dodge

Feb. 2-15 [192?] -- Figure Paintings by Murray Bewley

March 15-April 3 [192?] -- Paintings by Willard L. Metcalf

March 28-April 16 [192?] -- Paintings by Henry Golden Dearth

April 2-21 [192?] -- Landscape Paintings by Bruce Crane, N.A

Oct. 17-29 [192?] -- Water Colors of the Rivera by Ferris Connah

Oct. 18-30 -- Paintings and Drawings by George Wharton Edwards

Oct. 25-Nov. 13 [192?] -- Recent Landscapes by John F. Carlson, N.A.

Oct. 25-Nov. 13 [192?] -- John F. Carlson

[192?] -- Indian and Animal Pictures and Bronzes by Edwin Willard Deming

Nov. 19-Dec. 1 [192?] -- Water Colors of Architectural Subjects in France, also Landscape and Figures by William De Leftwich Dodge

Jan. 20-Feb 1, 1930 -- West African Water Colors by Erick Berry

Jan. 20-Feb. 1, 1930 -- Paintings by Nelson C. White

Feb., 1930 -- Thelma Wood

Feb. 3-15, 1930 -- Paintings by Horace Brown

Feb. 17-March 1, 1930 -- Paintings by Francis Speight

Feb. 17-March 1, 1930 -- Paintings by Ruth Payne Burgess

March 3-15, 1930 -- Paintings by John Noble

March 17-29, 1930 -- Russian Paintings by Irwin D. Hoffman, Also a Group of Recent Watercolors

March 17-29, 1930 -- Alexander Warshawsky

March 31-April 12, 1930 -- Memorial Exhibition, Paintings and Watercolors of Sigurd Skou

March 31-April 12, 1930 -- Emmanuel Andrew Cavacos

April 14-26, 1930 -- Water Colors by John Whorf

Oct. 20-Nov. 1, 1930 -- Recent Paintings of Lake Como by Charles Warren Eaton

Nov. 3-15, 1930 -- Pastels and Etchings of Angkor and the Far East by Lucille Douglass

Nov. 17-29, 1930 -- Joseph Szekely

Nov. 17-29, 1930 -- Important Exhibiton of Paintings by a "Group of Americans"

Dec. 1-13, 1930 -- Diana Thorne and Canine Portraiture

Dec. 1-13, 1930 -- Recent Paintings of Ireland by Power O'Malley

Dec. 1-13, 1930 -- Paintings by Charles M. Cox of Boston

Jan. 19-31, 1931 -- Portraits by Jere R. Wickwire

Jan. 20-Feb. 1, 1931 -- Nelson C. White

Jan. 24-Feb. 7, 1931 -- Pastels and Etchings of Angkor and the Far East by Lucille Douglass

Feb. 2-24, 1931 -- Recent Paintings by Lillian Gentle

Feb. 2-24, 1931 -- Impressions of India and Palestine by Ruth Coleman

Feb. 16-28, 1931 -- Watercolors of Vermont Scenes and Other Views by Ruth Payne Burgess

Feb. 16-28, 1931 -- Martha Walter Recent Work in Oil and Watercolor

March 2-14, 1931 -- Recent Paintings by Alice Judson

March 2-28, 1931 -- Paintings & Drawings by Gari Melchers

March 16-28, 1931 -- Recent Watercolors by Harold Putnam Brown

March 30-April 11, 1931 -- Paintings by Louis Kronberg

March 30-April 11, 1931 -- Watercolors by John Whorf

April 13-25, 1931 -- Americans by American Artists, Exhibition of Portraits

April 13-25, 1931 -- Louis Kronberg

April 13-25, 1931 -- Portraits and Crayon Heads by Ferris Connah

April 13-May 2, 1931 -- Abbott H. Thayer

Sept. 22-Oct. 6, 1931 -- Water Colors by Gladys Brannigan, Alice Judson, Margery Ryerson

Oct. 19-30, 1931 -- Portraits by William Steene

Nov. 2-7, 1931 -- Portraits and Sketches by Maria Kammerer under the Patronage of Countess Laszlo Szechenyi

Nov. 9-21, 1931 -- Paintings by Bessie Lasky

Nov. 23-Dec. 5, 1931 -- Recent Oils, Water Colors and Etchings by Joseph Margulies

Dec. 7-21, 1931 -- Recent Paintings by George Wharton Edwards

Dec. 7-19, 1931 -- Paintings and Etchings of African and American Big Game by Major A. Radclyffe Dugmore

Dec. 7-19, 1931 -- Watercolors of Yucatan, "Land of the Mayas" by William de Leftwich Dodge

Dec. 20-Jan. 8, 1932 -- Water Colors of the Yellowstone and Mexican Series by Thomas Moran, N.A.

Jan. 11-23, 1932 -- Paintings, Watercolors and Etchings of Animals by Sybilla Mittell Weber

Jan. 25-Feb. 6, 1932 -- Paintings by George Oberteuffer, Member of the Salon d'Automne, Paris

Feb. 8-March 5, 1932 -- Important 19th and 20th Century American Painters

March 7-19, 1932 -- Paintings by Mrs. B. King Couper

March 7-19, 1932 -- Drawings by Maurice Sterne, Ernest Fiene, Alexander Brook, yasuo Kuniyoski, Bernard Karfiol, Peggy Bacon, and Leon Kroll

March 28-April 9, 1932 -- Watercolors by John Whorf

April 11-30, 1932 -- Forty Years of American Art

Oct. 3-15, 1932 -- New Paintings by American Artists

Oct. 19-Nov. 5, 1932 -- Paintings by Stephen Etnier

Nov. 7-30, 1932 -- Paintings by Edward Bruce

circa 1932 -- Recent Paintings by Stephen Etnier

Jan.30-Feb. 25, 1933 -- Important Exhibition of Paintings by Thomas Eakins

March 6-25, 1933 -- 19th and 20th Century Watercolors

March 27-April 14, 1933 -- Paintings by Francis Speight

April 17-May 6, 1933 -- Water Colors by John Whorf

May 15-31, 1933 -- 19th Century American Landscape Artists

Nov. 27-Dec., 1933 -- Water Colors by Emil Holzhaur

Feb. 26-March 17, 1934 -- Paintings by Stephen Etnier

March 19-April 7, 1934 -- Water Colors by John Whorf

April 16-May 5, 1934 -- Bali Studies by Maurice Sterne

June-Aug., 1934 -- Paintings by American Artists

Sept., 1934 -- Paintings by American Artists

Oct. 15-Nov. 3, 1934 -- New and Recent Paintings by American Artists

Nov. 5-21, 1934 -- Paintings by Sidney Laufman

Nov. 26-Dec., 1934 -- Recent Vermont Landscapes by Edward Bruce

circa 1934 -- American Figure Paintings of the 19th and 20th Century

Jan. 7-26, 1935 -- Paintings and Watercolors from the Samuel Halpert Estate

Feb. 4-28, 1935 -- Small Paintings by 19th and 20th Century American Artists

March 4-22, 1935 -- Recent Paintings by Stephen Etneir

March 25-April 13, 1935 -- Water Colors by John Whorf

April 22-May 11, 1935 -- Figure and Landscape Studies by Leon Kroll

May 20-June, 1935 -- Group Exibhition of Paintings

Summer, 1935 -- Paintings by American Artists

Oct. 1-26, 1935 -- Paintings by Childe Hassam

Oct. 28-Nov. 16, 1935 -- Watercolors by Millard Sheets

through Dec., 1935 -- Paintings by Americans

Jan. 1936 -- Paintings by Americans

Feb. 3-29, 1936 -- Important Exhibition of 19th and 20th Century American Painters

March 2-21, 1936 -- Stephen Etnier

March 30-April 19, 1936 -- Watercolors by John Whorf

May 18-June, 1936 -- Paintings by American Artists

Summer, 1936 -- Paintings by American Artists

September, 1936 -- Paintings by American Artists

Oct. 12-31, 1936 -- Contemportary Viewpoint

through Nov. 30, 1936 -- 19th and 20th Century American Figure Paintings

circa 1936 -- Landscapes--Contemporary Viewpoint

Jan. 11-30, 1937 -- Selected Landscapes

Feb., 1937 -- Contemporary American Sculpture

March 15-April 3, 1937 -- Watercolors by Millard Sheets

April 12-30, 1937 -- John Whorf

April 27-May 16, 1937 -- Maurice Sterne

May, 1937 -- Paintings by American Artists

Summer, 1937 -- Paintings

Oct. 1-15, 1937 -- Recent Watercolors

Oct. 18-Nov. 6, 1937 -- Paintings by Lucille Blanche

Nov. 8-30, 1937 -- Paintings by American Artists

Dec. 6-24, 1937 -- Watercolors by Lester Field

Jan. 3-22, 1938 -- Recent Paintings by Stephen Etnier

Jan. 24-Feb. 5, 1938 -- Paintings by Margaret Cooper

Feb. 7-26, 1938 -- Colonial Portraits

March 7-26, 1938 -- Recent Oils and Watercolors by Millard Sheet

April 4-23, 1938 -- Recent Watercolors by John Whorf

Summer, 1938 -- Paintings by American Artists

through Oct., 1938 -- Paintings by American Artists

Oct. 24-Nov. 12, 1938 -- Recent Watercolors by Karl Oberteuffer

Nov. 21-Dec. 17, 1938 -- Paintings for the Home by American Artists

Jan. 16-Feb. 4, 1939 -- Recent Paintings by Floyd Clymer

Feb. 6-25, 1939 -- Harry Hering

March 6-31, 1939 -- Figure Paintings by American Artists

April 3-22, 1939 -- Recent Watercolors by John Whorf

May 15-June 3, 1939 -- Recent Watercolors by Millard Sheets

Summer, 1939 -- Selected Group of Paintings by American Artists

Sept., 1939 -- Paintings and Watercolors by American Artists

through Oct. 13, 1939 -- Recent Paintings by a Group of American Artists

Oct. 16-Nov. 4, 1939 -- Recent Paintings by Saul Schary

Nov. 13-Dec. 2, 1939 -- Toreros and Dancers of Spain and Mexico by Carlos Ruano Llopis

Dec., 1939 -- Paintings for the Home

Nov. 5-17 [193?] -- Table Portraits by Eulabee Dix

[193?] -- Paintings by American Artists

Jan. 2-27, 1940 -- Stephen Etnier

Feb. 12-March 2, 1940 -- Recent Watercolors by Robert Carson

March 11-30, 1940 -- Daniel Serra Paintings

April 8-27, 1940 -- Recent Watercolors by John Whorf

April 28-May 18, 1940 -- Rubin Recent Paintings

through June 29, 1940 -- Paintings by a Selected Group of American Artists

through Sept. 28, 1940 -- Summer Exhibition of Paintings by a Selected Group of Early and Contemporary American Artists

Oct. 1-19, 1940 -- Recent Paintings by a Selected Group of American Artists

Oct. 21-Nov. 9, 1940 -- Recent Watercolors by Allen Ingles Palmer

Nov. 18-Dec. 7, 1940 -- Helen Sawyer

Dec., 1940 -- Selected Paintings for the Home, and A Group of Original Studies in Color by Maurice Sterne

Jan. 13-Feb. 8, 1941 -- Watercolors by American Artists

Feb. 17-March 15, 1941 -- Paintings by Stephen Etnier, Sidney Laufman, and Francis Speight

April 7-26, 1941 -- Recent Watercolors by John Whorf

April 28-May 17, 1941 -- Remembrances of South America and British West Indies by Manicol

May 19-June 30, 1941 -- Group of Paintings by Selected Contemporary American Artists

Summer, 1941 -- Exhibition of Selected Paintings by American Artists

Sept., 1941 -- A Selected Group of Paintings by Americna Artists

Oct. 6-25, 1941 -- Recent Paintings by a Selected Group of American Artists

Oct. 27-Nov. 15, 1941 -- Eliot O'Hara Watercolors

Nov. 17-Dec. 5, 1941 -- Recent Paintings by Jay Connaway

Nov. 17-Dec. 6, 1941 -- Recent Watercolors by Richard A. Kimball

Dec. 8-27, 1941 -- Edith Blum Paintings

Jan. 5-24, 1942 -- Recent Paintings by Stephen Etnier

through Feb. 28, 1942 -- Selected Paintings by a Group of Contemporary American Artists

March 9-28, 1942 -- New Talents Presented by the Gloucester Society of Artists

April 6-25, 1942 -- Recent Watercolors by John Whorf

May, 1942 -- Selected Paintings by Contemporary American Artists

June 2-13, 1942 -- Yun Gee

Summer, 1942 -- Selected Paintings by Early and Contemporary American Artists

Summer, 1942 -- Paintings by Selected American Artists

Oct. 5-31, 1942 -- Recent Paintings by a Selected Group of American Artists

Nov. 9-30, 1942 -- Watercolors by American Artists

Jan. 18-Feb. 6, 1943 -- Paintings by Yovan Radenkovitch

April 4-24, 1943 -- Recent Watercolors by John Whorf

April 26-May 15, 1943 -- Paintings and Watercolors by Childe Hassam

May 25-June 5, 1943 -- Exhibition by Gladys Irene Cook

June, 1943 -- Selected Paintings by American Artists

Summer, 1943 -- Exhibition of Paintings by American Artists

Sept., 1943 -- Paintings by a Selected Group of American Artists

Oct. 4-23, 1943 -- Paintings by Yun Gee

Nov., 1943 -- Recent Paintings by a Selected Group of American Artists

Jan. 24-Feb. 12, 1944 -- Recent Watercolors by James Fitzgerald

Feb. 14-March 4, 1944 -- Paintings by Sidney Laufman

March 6-25, 1944 -- Paintings by Jessie Ansbacher

April 3-22, 1944 -- Recent Watercolors by John Whorf

May, 1944 -- Paintings by Important American Artists

Summer, 1944 -- Exhibition of Paintings by a Selected Group of American Artists

Summer, 1944 -- Exhibition of Selected Paintings by a Group of American Artists

Oct. 2-21, 1944 -- Recent Paintings by Jay Connaway

Oct. 23-Nov. 11, 1944 -- Harry Hering

Nov. 13-Dec. 2, 1944 -- Paintings by Hobson Pittman

Dec., 1944 -- Paintings for the Home by American Artists

Jan. 3-13, 1945 -- Paintings by Therese Steinhardt

Jan. 22-Feb. 10, 1945 -- Louis Ritman

Feb. 18-, 1945 -- Memorial Exhibition, Paintings and Pastels by William Henry Singer, Jr., N.A.

Feb. 19-March 10, 1945 -- Recent Watercolors by Eliot O'Hara, A.N.A. (Elect)

March, 1945 -- Paintings by a Selected Group of Contemporary Artists

April 9-28, 1945 -- Recent Watercolors by John Whorf

May, 1945 -- Paintings by American Artists, Late 19th and Early 20th Century

Summer, 1945 -- Paintings by a Selected Group of Contemporary American Artists

Oct., 1945 -- Paintings by a Group of Selected American Artists

Oct. 22-Nov. 10, 1945 -- Helen Sawyer

Nov. 19-Dec. 1, 1945 -- Recent Paintings by Stephen Etnier

Nov. 19-Dec. 8, 1945 -- Hilde Kayn

Dec., 1945 -- Paintings for the Home by American Artists

Dec. 31-Jan. 19, 1946 -- Paintings by Stpehen Etnier

Jan. 28-Feb. 16, 1946 -- Paintings by Alexandra Pregel

Feb. 18-March 9, 1946 -- W.H. Singer

March 11-30, 1946 -- Paintings by American Artists

April 8-27, 1946 -- Recent Watercolors by John Whorf

Summer, 1946 -- Paintings by 19th and 20th Century Americans

Oct. 7-26, 1946 -- Recent Watercolors by Allen Ingles Palmer

Oct. 28-Nov. 16, 1946 -- Paintings by Ferdinand Warren

Nov. 18-Dec. 7, 1946 -- Louis Di Valentin

Dec. 9-29, 1946 -- Recent Watercolors by Wm. F.C. Ewing and Richard A. Kimball

Jan., 1947 -- Paintings by Selected American Artists

Jan. 13-Feb. 1, 1947 -- Gerrit V. Sinclair Paintings

Feb. 3-21, 1947 -- Recent Watercolors by Jerri Ricci

Feb. 24-March 15, 1947 -- Childe Hassam Paintings

March 31-April 19, 1947 -- Recent Watercolors by John Whorf

April 21-May 10, 1947 -- Pastels of Charleston by Hobson Pittman

June 2-13, 1947 -- Yun Gee

Oct. 6-25, 1947 -- Special Exhibition of American Paintings Honoring the Great Artists Who Have Been Shown in Our Galleries

Oct. 27-Nov. 15, 1947 -- New Paintings, Oil Studies, and Drawings by Leon Kroll

Nov. 17-Dec. 6, 1947 -- F. Douglas Greenbowe Watercolors

Jan. 19-Feb. 7, 1948 -- Paintings by Alexandria Pregel

March 22-April 3, 1948 -- American Art

March 22-April 3, 1948 -- Paintings by Artists Equity Association Members

May, 1948 -- Paintings by a Group of Selected American Artists

May 24-June 5, 1948 -- Paintings by New York Artists, 16th Exhibition of the Arthur Schwieder Group

Oct. 5-23, 1948 -- Impressions of New York

Oct. 25-Nov. 13, 1948 -- Paintings by Ernest Lawson

Nov. 15-27, 1948 -- Sculpture by Eleanor M. Mellon

Dec. 20-Jan. 8, 1949 -- Drawings by Frank di Gioia

Jan. 10-29, 1949 -- Six Watercolorists [Greenbowie, Knauth, Newman, Palmer, Ricci and Whorf]

Jan. 31-Feb. 19, 1949 -- New Paintings by Ferdinand Warren

Feb. 21-March 12, 1949 -- Paintings by Louis Di Vanentin

April 4-23, 1949 -- Recent Watercolors by John Whorf

April 25-May 7, 1949 -- Paintings by Mildred Hayward

May 9-21, 1949 -- Paintings by New York Artists, 17th Exhibition of the Arthur Schwieder Group

June 17-July 5, 1949 -- Paintings by Guy Pene DuBois

Oct. 4-29, 1949 -- Opening Exhibition of Paintings and Watercolors by 19th and 20th Century American Artists

Oct. 24-Nov. 12, 1949 -- Recent Watercolors by Henry Edmiston

Nov. 14-Dec. 3, 1949 -- Paintings by John H. Twachtman

Dec. 5-24, 1949 -- F. Douglas Greenbowe Watercolors

[194?] -- Paintings for the Home by American Artists

June [194?] -- 2-13Yun Gee

Jan. 9-28, 1950 -- Paintings by Gordon Samstag

Jan. 30-Feb. 18, 1950 -- George C. Ault Memorial Exhibition

Feb. 20-March 11, 1950 -- Recent Paintings by David Burr Moreing

March 13-April 1, 1950 -- Paintings by Frank di Gioia

April 3-22, 1950 -- Recent Watercolors by John Whorf

April 24-May 13, 1950 -- Paintings by Contemporary American Artists

May 15-27, 1950 -- Paintings by New York Artists, 18th Exhibition of the Arthur Schwieder Group

Oct. 2-21, 1950 -- Recent Paintings by Benjamin Kopman

Nov. 13-Dec. 2, 1950 -- Paintings by Stephen Etnier

Dec. 4-30, 1950 -- Special Exhibition of American Paintings in Honor of the Philadelphia Museum of Art Diamond Jubilee

through Dec. 23, 1950 -- Watercolors and Drawings by Frank di Gioia

Jan. 8-27, 1951 -- New Gouaches of the Circus and Theatre by Walter Philipp

Jan. 29-Feb. 17, 1951 -- Louis Ritman Paintings

Feb. 19-March 10, 1951 -- Recent Watercolors by Jerri Ricci

March 12-31, 1951 -- Paintings, Panels, Figures of Africa, Belgian Congo, Bechuanaland, and Rhodesia by Jay Robinson

April 2-21, 1951 -- Recent Watercolors by John Whorf

April 24-May 12, 1951 -- Sculpture and Drawings of Nicolaus Koni

May 21-June 1, 1951 -- Paintings by New York Artists, 19th Exhibition of the Arthur Schwieder Group

Oct. 22-Nov. 10, 1951 -- Recent Paintings by Thomas Blagden

Nov. 12-Dec. 1, 1951 -- Recent Paintings by David Burr Moreing

Dec., 1951 -- Group Exhibition

Jan. 7-26, 1952 -- Paintings of Italy and "Little Italy" by Frank di Gioia

Jan. 28-Feb. 16, 1952 -- London to Algiers, Recent Watercolors by Eliot O'Hara, N.A.

Feb. 18-March 8, 1952 -- Recent Paintings by Jacques Zucker

April 7-26, 1952 -- Recent Watercolors by John Whorf

April 28-May. 10, 1952 -- Paintings by Alexandra Pregel

May 12-24, 1952 -- Paintings by New York Artists, 20th Exhibition of the Arthur Schwieder Group

Oct. 28-Nov. 15, 1952 -- Paintings by John Sharp

Nov. 17-Dec. 6, 1952 -- Stephen Etnier: Recent Paintings

Dec. 8-27, 1952 -- Childe Hassam Watercolors

Jan. 5-24, 1953 -- Jay Robinson

Jan. 26-Feb. 14, 1953 -- Iver Rose

Feb. 16-March 7, 1953 -- Recent Watercolors by Jerri Ricci

April 6-25, 1953 -- Recent Watercolors by John Whorf

May 18-29, 1953 -- Richard Whorf

May 18-29, 1953 -- Paintings by New York Artists, 21st Exhibition of the Arthur Schwieder Group

June, 1953 -- Paintings and Watercolors by 19th and 20th Century American Artists

Oct., 1953 -- Paintings and Watercolors by American Artists

Oct. 26-Nov. 14, 1953 -- Recent Paintings by David Burr Moreing

Nov. 17-Dec. 5, 1953 -- Ogden W. Pleissner Recent Paintings

Dec. 7-30, 1953 -- Recent Landscapes by Sidney Laufman

Jan. 4-23, 1954 -- Paintings of New York's "Little Italy" by Frank di Gioia

Jan. 25-Feb. 13, 1954 -- Round the World by Watercolor with Eliot O'Hara, N.A.

Feb. 15-March 6, 1954 -- Hobson Pittman

March 8-27, 1954 -- Jay Robinson: Kentucky, Part II

April 5-24, 1954 -- John Whorf Watercolors

May 17-28, 1954 -- Paintings by New York Artists, 22nd Exhibition of the Arthur Schwieder Group

Oct. 25-Nov. 13, 1954 -- Recent Watercolors by James Vance

Nov. 15-Dec. 4, 1954 -- Stephen Etnier Recent Paintings

Dec. 6-24, 1954 -- Recent Paintings by Thomas Blagden

Jan. 3-22, 1955 -- Recent Paintings by Jacques Zucker

Jan. 24-Feb. 12, 1955 -- Recent Watercolors by Jerri Ricci

Feb. 14-March 5, 1955 -- Paintings of Spain and Her People by Maurice Fromkes

April 25-May 14, 1955 -- Gluckmann Recent Paintings

May 16-27, 1955 -- Paintings by New York Artists, 23rd Exhibition of the Arthur Schwieder Group

Oct. 24-Nov. 12, 1955 -- Paintings and Gouaches by John Taylor

Nov. 14-Dec. 3, 1955 -- Paintings and Panels by Jay Robinson of West and Central Africa

Dec. 5-30, 1955 -- Childe Hassam and American Impressionism

Jan., 1956 -- Recent Paintings by a Group of American Artists

Feb. 6-25, 1956 -- F. Douglas Greenbowe Watercolors

March, 1956 -- Group Exhibition

April 9-28, 1956 -- John Whorf Watercolors

May, 1956 -- Paintings by a Group of 18 American Artists

May 7-19, 1956 -- Paintings by New York Artists, 24th Exhibition of the Arthur Schwieder Group

Nov. 5-24, 1956 -- Stephen Etnier Recent Paintings

Nov. 27-Dec. 15, 1956 -- Ogden M. Pleissner Recent Paintings

Dec. 1-Jan. 19, 1957 -- Jay Robinson Paintings in Fired Enamel on Copper

Feb. 11-March 2, 1957 -- Recent Paintings by Thomas Blagden

March 4-23, 1957 -- Adolph Dehn

April 15-May 4, 1957 -- John Whorf Watercolors

Oct. 28-Nov. 16, 1957 -- Recent Still Life Paintings by Aaron Bohrod

Jan. 13-Feb. 8, 1958 -- Recent Paintings by a Group of Contemporary Americans

Feb. 10-March 8, 1958 -- Long Island Paintings by Childe Hassam

March 10-29, 1958 -- Paintings by Louis Di Valentin

March 31-April 19, 1958 -- Recent Paintings by Sidney Laufman

April 21-May 10, 1958 -- John Whorf Watercolors

May, 1958 -- Americans: 1865-1925

June, 1958 -- Exhibit to Benefit Friends of the Whitney Museum

June 3-27, 1958 -- American Paintings and Sculpture

Oct. 6-25, 1958 -- Recent Paintings by David Shapiro

Oct. 27-Nov. 15, 1958 -- Stephen Etnier Recent Paintings

Nov. 17-Dec. 6, 1958 -- Paul Sample Recent Paintings

Dec. 8-24, 1958 -- Recent Drawings and Watercolors of France, Italy, Spain, and North Africa by Frank di Gioia

Jan. 19-Feb. 7, 1959 -- Marion Greenwood Paintings

March 2-21, 1959 -- Leon Kroll Paintings and Drawings

March 23-April 18, 1959 -- Elmer L. Mac Rae Forgotten Artist of the 1913 Armory Show

May 4-23, 1959 -- Philip Visson

Oct., 1959 -- Paintings by American Artists

Oct. 26-Nov. 14, 1959 -- Recent Painting by Aaron Bohrod

Nov. 17-Dec. 5, 1959 -- Ogden M. Pleissner Recent Paintings

Dec. 7-30, 1959 -- Recent Oils and Watercolors by Thomas Blagden

Jan. 18-Feb. 6, 1960 -- Elmer L. Mac Rae, Re-Discovered Artist of the 1913 Armory Show and a Founder of "The Pastellists"

through Jan. 15, 1960 -- Paintings by American Artists

March 14-April 2, 1960 -- Xavier Gonzalez Recent Paintings

April 4-23, 1960 -- Paintings by Louis Bosa

April 25-May 14, 1960 -- Grigory Gluckmann

May-June, 1960 -- Group of Contemporary Armerican Artists

Oct. 10-29, 1960 -- Adolf Dehn Caseins and Watercolors

Oct. 31-Nov. 19, 1960 -- Stephen Etnier

Dec., 1960 -- Paintings for the Home

Jan., 1961 -- Group Exhibition, 19th and 20th Century Americans

Jan. 30-Feb. 18, 1961 -- Recent Watercolors by Jerri Ricci

Feb. 20-March 11, 1961 -- Frank di Gioia Recent Paintings

March 20-April 8, 1961 -- David Fredenthal Memorial Exhibition

April 10-29, 1961 -- Allen Tucker

May, 1961 -- Contemporary American Artists

June-July, 1961 -- 19th & 20th Century American Artists

Oct. 10-28, 1961 -- David Shapiro Recent Paintings

Oct. 31-Nov. 18, 1961 -- Aaron Bohrod

Nov. 21-Dec. 9, 1961 -- Thomas Fransioli

Feb. 6-24, 1962 -- Retrospective Exhibition, Maurice Sterne

March 6-24, 1962 -- Three Watercolorists: Childe Hassam, John Whorf, and David Fredenthal

April 3-21, 1962 -- Thomas Blagden

April 24-May 12, 1962 -- Grigory Gluckmann

Summer, 1962 -- Gallery Group of Contemporary Americans

Sept., 1962 -- 19th & 20th Century American Artists

Oct., 1962 -- Gallery Group of Contemporary Americans

Oct. 30-Nov. 17, 1962 -- Stephen Etnier

Nov. 21-Dec. 8, 1962 -- Pleissner Recent Paintings

Dec., 1962 -- Group Exhibition

Jan. 22-Feb. 9, 1963 -- Paul Sample Recent Paintings

Feb. 11-March 2, 1963 -- Group of Contemporary Americans

March 5-23, 1963 -- Gouaches by John Taylor

March 26-April 13, 1963 -- Fletcher Martin Recent Paintings

April-May, 1963 -- Gallery Group-Contemporary Americans

Oct. 8-26, 1963 -- David Shapiro Recent Work

Oct. 30-Nov. 16, 1963 -- Xavier Gonzalez Recent Watercolors

Nov. 19-Dec. 7, 1963 -- New Paintings by Aaron Bohrod

April, 1964 -- Watercolors and Pastels

April 21-May 9, 1964 -- Grigory Gluckmann

May 13-29, 1964 -- Frank di Gioia Recent Paintings

Oct., 1964 -- Group Exhibition

Nov. 3-21, 1964 -- Stephen Etnier

Nov. 24-Dec. 12, 1964 -- Thomas Blagden

Jan., 1965 -- Comtemporary American Artists

Feb. 2-14, 1965 -- Figure Paintings by Murray Bewley

Feb. 2-14, 1965 -- Exhibition by George Biddle

Feb. 11-23, 1965 -- Paintings and Drawings by Max Bohm

Feb. 14-26, 1965 -- Paintings by Arthur C. Goodwin

Feb. 16-28, 1965 -- Water Colors by Matilda Browne

Feb. 16-March 6, 1965 -- Water Colors by Adolf Dehn

March, 1965 -- 19th and 20th Century American Artists

March 1-13, 1965 -- Bruce Crane, N.A.

March 6-25, 1965 -- Pastels of the Cascapedia River, Canada, by Arthur C. Goodwin

March 26-April 7, 1965 -- Paintings by Howard Russell Butler, N.A.

March 23-April 10, 1965 -- Paintings by Dan Lutz

March 28-April 16, 1965 -- Paintings by Henry Golden Dearth

April 2-21, 1965 -- Landscape Paintings by Bruce Crane, N.A.

April 13-May 1, 1965 -- Paintings by Louis Bosa

April 16-28, 1965 -- Water Colors and Etchings by Adolphe W. Blondheim

May, 1965 -- Gallery Contemporaries

Oct. 25-Nov. 13, 1965 -- Recent Landscapes by John F. Carlson, N.A.

Oct. 26-Nov. 13, 1965 -- Twenty-Four New Paintings by Aaron Bohrod, Artist in Residence, University of Wisconsin

Nov. 2-14, 1965 -- Paintings by Ann Crane

Nov. 5-17, 1965 -- Memorial Exhibition of Paintings of Venice by Wm. Gedney Bunce, N.A.

Nov. 7-19, 1965 -- Paintings and Sculpture by Matilda Browne

Nov. 16-Dec. 4, 1965 -- Electra Bostwick

Dec. 7-30, 1965 -- Recent Drawings and Watercolors of European Countries and North Africa by Frank di Gioia

Jan. 11-29, 1966 -- Georges Schreiber Watercolors: 1963-1965

Jan.-Feb., 1966 -- 19th and 20th Century American Artists

Feb.-March, 1966 -- Group Exhibition

June, 1966 -- Group Exhibition

Oct. 11-29, 1966 -- Thomas Blagden

Nov. 1-19, 1966 -- Stephen Etnier

Nov. 22-Dec. 10, 1966 -- Pleissner

Jan. 24-Feb. 11, 1967 -- Xavier Gonzalez

April, 1967 -- Group Exhibition

April 18-May 6, 1967 -- Grigory Gluckmann

July, 1967 -- Group Exhibition

undated -- Etchings and Color-Etchings

undated -- Etchings of China and Cambodia by Lucille Douglass

undated -- Thomas Jefferson Bust in Bronze by Robert Aitken, N.A.

undated -- Paintings by Ossip L. Linde

undated -- Etchings by William Meyerowitz

undated -- Recent Screens and Panels by Roy Mac Nicol

undated -- Summer Exhibition of Paintings and Watercolors by 19th and 20th Century American Artists

undated -- Paintings by Clement

undated -- Important Works in Paintings and Sculpture by Leading American Artists

Jan. 3-14, undated -- Armin Hansen

Jan. 8-27, undated* -- Recent Etchings by William Meyerowitz

Jan. 8-31, undated -- Group of American Figure Paintings, 19th and 20th Century

Jan. 9-21, undated -- Paintings by Katherine Langhorne Adams

Jan. 16-28, undated -- Paintings by Dewitt Parshall, N.A., and Douglass Parshall, N.A.

Jan. 23-Feb. 11, undated -- Paintings by Bruce Crane, Elliott Daingerfield, Granville Smith, and F. Ballard Williams

Jan. 27-Feb. 11, undated -- Willam de Leftwick Dodge

Jan. 28-Feb. 16, undated -- Paintings by Gari Melchers

Jan. 29-Feb. 10, undated -- Paintings of the California Coast by Armin Hansen

Jan. 30-Feb. 11, undated -- Sigrud Skou

Feb. 13-25, undated -- Water Colors by Alice Judson

Feb. 13-25, undated -- Paintings by Guy Wiggins, N.A.

Feb. 13-March 11, undated -- Paintings by H.T. Keasbey

Feb. 15-March 5, undated -- Frederic James

Feb. 17-March 1, undated -- Silver Point Drawings by Thelma E. Wood

Feb. 18-March 6, undated -- Landcapes, Nature Moods Expressed in Terms of Light by Julie Mathilde Morrow

Feb. 18-March 8, undated -- Paintings of Venice, Rome and French Landscape, also Pastel Drawings of the Battle Sectors of the 26th Division, A.E.F. by J. Alden Twachtman

Feb. 27-March 10, undated -- Portrait Busts and Drawings by Alexander Portnoff

March 5-17, undated* -- Pastels of the Hudson River by Arthur C. Goodwin

March 7-16, undated -- Paintings of Africa and Spain by Lillian Genth

March 7-26, undated -- Sigurd Skou

March 8-20, undated -- Paintings by Sigurd Skou

March 10-22, undated -- MacDowell Club of New York City Annual Exhibition of Paintings

March 22-April 10, undated -- Paintings of the Cathedrals of France by Pieter Van Veen

March 26-April 12, undated -- Paintings by E. Martin Hennings

March 26-April 14, undated -- Recent Etchings by Elias M. Grossman

March 28-April 16, undated -- Martha Walter Water Colors of Spain and North Africa

April 5-17, undated -- Paintings by Ernest L. Blumenschein, Victor Huggins, Walter Ufer

April 7-19, undated -- Figure Paintings by Louis Ritman

April 12-23, undated -- Portraits and Figure Paintings by Edith Catlin Phelps

April 12-24, undated -- Paintings of American Gardens by Abbott Graves

April 16-28, undated -- Portrait Drawings in Pastel by Jessie Voss Lewis (Mrs. H.L. Daingerfield Lewis)

April 19-May 1, undated -- Paintings by Valentino Molina

April 21-May 3, undated -- Paintings of Tahiti and California by William Ritschel, N.A.

April 21-May 3, undated -- Leonard Lopp, Glacier Park Artist

April 22-May 15, undated -- Sculpture for House, Garden & Grounds by Leading American Artists, and Pottery by Clara L. Poillon

April 24-May 5, undated -- Paintings by Thalia Millett

April 26-May 15, undated -- Dan Lutz, Mighican Summer and Mexican Sojourn

April 26-May 15, undated -- William H. Singer

April 27-May 16, undated -- Recent Paintings by Gluckmann

May 3-28, undated -- Exhibition of Sculpture for Garden and Grounds by Leading Sculptors

May 5-17, undated -- Recent American Sculpture in Bronze, Wood and Terra Cotta for the Town and Country House, Grounds and Garden

Oct. 11-23, undated -- Paintings by Anna Heyward Taylor

Oct. 25-Nov. 13, undated -- Water Colors by Alice Judson

Oct. 27-Nov. 15, undated -- Paintings and Etchings by William Auerbach-Levy

Oct. 30-Nov. 11, undated* -- Connecticut Landscape Paintings by Robert Nisbet, A.N.A.

Oct. 31-Nov. 12, undated -- Paintings of China and Tibet by Alice Job

Oct. 31-Nov. 14, undated -- Drawings by James Wilkie

Nov. 5-17, undated -- Paintings of Venice

Nov. 15-27, undated* -- Water Colors by Childe Hassam

Nov. 16-Dec. 5, undated -- Recent Etchings by Alfred Hutty

Nov. 16-Dec. 5, undated -- Paintings by W. Elmer Schofield

Nov. 17-29, undated -- Paintings and Etchings by Power O'Malley

Nov. 18-30, undated -- Recent Work in Water Color and Etching by Louis Wolchonok

Nov. 19-Dec. 1, undated -- Winter Landscapes in Water Color by Walter Launt Palmer, N.A.

Nov. 19-Dec. 1, undated -- Painter Friends, Robert H. Nisbet, Guy C, Wiggins, Edward C. Volkert, Wilson Irvine, George M. Bruestle, and Carl J. Nordell

Nov. 23-, undated -- Landscapes by Ault, Brook, Coleman, Karfiol, Ritman, Speight, Sterne, and Weber

Nov. 23-Dec. 6, undated -- Portraits of America's Most Distinguished Women by Leon Gordon

Nov. 24-Dec. 3, undated -- Sculpture by Gleb Derujinsky

Nov. 26-Dec., undated -- Exhibition of Recent Vermont Landscapes by Edward Bruce

Nov. 26-Dec. 5, undated -- Alfred Hutty

Nov. 27-Dec. 9, undated -- Paintings by Sigure Schou

Dec. 1-27, undated -- Works Painted in Spain by Maurice Fromkes

Dec. 1-25, undated -- Annual Holiday Exhibition of Selected Paintings of Limited Size

Dec. 3-29, undated -- Recent Paintings, Water Colors, and Etchings by Hilde Hassam, N.A., of the American Academy of Arts and Letters

Dec. 6-30, undated -- Selected Paintings for the Home by American Artists

Dec. 14-Jan. 2, undated -- Recent Paintings by George Shillard

Dec. 20-Jan. 8, undated -- Selected Small Paintings for the Home

Dec. 27-Jan. 12, undated -- Helen K. McCarthy Memorial Exhibition

Dec. 30-Jan. 18, undated -- Paintings by Stewart McDermot

Dec. 31-Jan. 12, undated -- Second Annual Exhibition in Pure Water Color by The Aquarellists
Provenance:
Milch Gallery gave the Archives of American Art a small selection of correspondence, photographs, and printed matter, and loaned a few other items in 1966-1967; these records were microfilmed on reels D285, N730, and NM1-NM2. Records of the Milch Gallery were purchased from the estate of Harold C. Milch by Elliott Galleries of New York City, and subsequently acquired by Salander-O'Reilly Galleries, which donated them to the Archives in 1986. With the exception of the scrapbook about Thomas Moran (reel N730; present location of the original is unknown), prior loans and gifts from Milch Gallery were incorporated and refilmed with the 1986 gift.

Stuart Feld of Hirschl & Adler Galleries donated an additional .8 linear feet of records in 1995. Zachary Ross of Hirschl & Adler Galleries donated 2.2 linear feet in 2014.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
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:
Gallery owners  Search this
Art -- Collectors and collecting  Search this
Art, American  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Gallery records
Photographs
Citation:
Milch Gallery records, 1911-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.milcgall
See more items in:
Milch Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw900ee3d8a-cabd-4224-9627-d7d8d8c4ae3d
EDAN-URL:
ead_collection:sova-aaa-milcgall

Oral history interview with Athena Tacha

Interviewee:
Tacha, Athena, 1936-  Search this
Creator:
Berman, Avis  Search this
United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this
Names:
United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this
Extent:
5 Items (sound files (6 hr., 47 min.), digital, wma)
127 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2009 December 4-6
Scope and Contents:
An interview of Athena Tacha conducted 2009 December 4-6, by Avis Berman, for the Archives of American Art's U.S. General Services Administration, Design Excellence and the Arts oral history project, at Tacha's studio, in Washington, D.C.
Tacha speaks of her family and her childhood in rural Greece; of growing up during World War II and the Greek Civil War; her early interests in art; traveling to France on a Greek government sponsored scholarship; her education at the School of Fine Arts; obtaining a Master's at Oberlin College on a Fulbright scholarship; obtaining a Ph.D. in aesthetics and art history from the Sorbonne in Paris; her decision to move to the United States; her first job as a museum curator at Oberlin's Allen Memorial Art Museum; her early shows in Ohio museums and galleries; her marriage to art historian Richard Spear; her decision to teach sculpture courses at Oberlin; her fellowship at MIT's Center for Advanced Visual Studies, a turning point in her career; her use of sculpture, light, and the environment to develop site-specific public art pieces and installations, thoroughly discussing all recent projects; her retirement from Oberlin College and move to Washington, DC; her creative process; the influences of her travels around the world on her environmentally-conscious art works; her thoughts on the American aesthetics, change, and temporary versus permanent sculpture; recent shows at Marsha Mateyka Gallery and Katzen Art Center and her recent public art installations in the Washington, DC area. Tacha also recalls her close friendship with Oberlin professor Ellen Johnson, André Chastel, and various art dealers and former students from Oberlin College.
Biographical / Historical:
Athena Tacha (1936- ) is an conceptual artist and photographer in Washington, D.C.
General:
Originally recorded on 1 compact disc. Reformatted in 2010 as 5 digital wav files. Duration is 6 hr., 47 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This transcript is open for research. Access to the entire recording is restricted. Contact reference Services for more information.
Occupation:
Photographers -- Washington (D.C.)  Search this
Conceptual artists -- Washington, D.C  Search this
Topic:
Women artists  Search this
Women photographers  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.tacha09
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw999fe51f8-23eb-41f0-91ab-75fbc58e222c
EDAN-URL:
ead_collection:sova-aaa-tacha09
Online Media:

James McNeill Whistler collection

Creator:
Whistler, James McNeill, 1834-1903  Search this
Names:
Company of the Butterfly  Search this
Royal Academy of Arts (Great Britain)  Search this
Salon (Exhibition : Paris, France)  Search this
Salon des refusés  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Anderson, Christine  Search this
Beck, J. W.  Search this
Boehm, Joseph Edgar, Sir, 1834-1890  Search this
Bronson, Katharine de Kay, 1834-1901  Search this
Burnett, Frances Hodgson, 1849-1924  Search this
Burnett, Swan M. (Swan Moses), 1847-1906  Search this
Ford, Sheridan, d. 1922  Search this
Lee, George Washington Custis, 1832-1913  Search this
Lee, Robert E. (Robert Edward), 1807-1870  Search this
Leighton of Stretton, Frederic Leighton, Baron, 1830-1896  Search this
Lucas, George A., 1824-1909  Search this
Pollitt, Herbert Charles Jerome, 1871-1942  Search this
Wilde, Oscar, 1854-1900  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Postcards
Pamphlets
Date:
1863-1906, circa 1940
Summary:
The collection measures 0.2 linear feet and provides scattered documentation of the career of American-born British-based painter and etcher James McNeill Whistler (1834-1903) through 39 items from Whistler to various recipients, including 25 letters, 9 telegraphs, 3 invitations, one thank you card and a postcard. The collection also contains 4 letters from others, 7 catalogs of Whistler exhibitions, a note from the back of Whistler's painting The Beach at Selsey Bill, and a 1906 copy of Wilde v. Whistler: being an acromonious correspondence on art between Oscar Wilde and James A. McNeill Whistler, a pamphlet containing letters originally published in London newspapers between 1885 and 1890.
Scope and Content Note:
The collection measures 0.2 linear feet and provides scattered documentation of the career of American-born British-based painter and etcher James McNeill Whistler (1834-1903) through 39 items from Whistler to various recipients, including 25 letters, 9 telegraphs, 3 invitations, one thank you card and a postcard. The collection also contains 4 letters from others, 7 catalogs of Whistler exhibitions, a note from the back of Whistler's painting The Beach at Selsey Bill, and a 1906 copy of Wilde v. Whistler: being an acromonious correspondence on art between Oscar Wilde and James A. McNeill Whistler, a pamphlet containing letters originally published in London newspapers between 1885 and 1890.

The Whistler letters found here touch on some important events in Whistler's career. One letter to George Lucas, an American art dealer in Paris, discusses his plans to send Symphony in White, No. 1: The White Girl to the Paris Salon of 1863. Rejected by the Royal Academy of Arts in London in 1862, the painting was also refused by the Paris Salon but shown ultimately in the landmark exhibition at the Salon des Refusés.

Also found are a circa 1879 letter to the eldest son of Robert E. Lee, General George Washington Custis Lee, with whom Whistler had been a cadet at West Point, recommending sculptor Joseph Boehm for an equestrian statue for memorializing Lee and expressing Whistler's veneration for the Confederate general; a circa 1880 letter from Whistler, written during his 14 months in Venice, to Katharine de Kay Bronson, who presided over the expatriate community there; 2 circa 1892-1893 letters documenting Whistler's determination to pursue Sheridan Ford through the courts in response to Ford's publication of a contraband version of Whistler's book The Gentle Art of Making Enemies; and a circa 1897 letter to J. W. Beck, sent in response to Beck's request on behalf of the Royal Academy that he exhibit with the British contingent at the 1893 World's Columbian Exposition in Chicago. In the letter Whistler insults Sir Frederic Leighton, the Royal Academy's president, retaliating against previous slights including having his paintings hung well above eye-level, or "skied".

Although few, if any, records survive about the creation of The Company of the Butterfly, a syndicate established in 1897 for selling Whistler's work, the collection contains one letter from Christine Anderson, the secretary of the Company, to one of it's first clients, Herbert Charles Pollitt.

The collection also contains an 1883 invitation from Whistler to Dr. Swan Burnett and his wife, children's author Frances Hodgson Burnett, to view etchings and drypoints and a note written by Whistler and signed with the butterfly, taken from the back of the painting Beach at Selsey Bill (1865).

Seven catalogs dating from 1892-1910 and circa 1940 document Whistler exhibitions in London and the United States.

Seven of the Whistler items are signed with his butterfly signature and all letters sent after his wife's death in May 1896 are on mourning stationary.
Arrangement:
The collection is arranged as 1 series:

Missing Title

Series 1: James McNeill Whistler Collection, 1863-1906, circa 1940 (Box 1; 0.2 linear ft.)
Biographical Note:
London-based painter and etcher, James McNeill Whistler (1834-1903) was born in Lowell, Massachusetts and lived in St. Petersburg and London as a child before returning to the United States on the death of his father in 1849. After a failed attempt at a military career at West Point from 1851-1853, he worked as a draftsman for the Coast Survey from 1854-1855 where he received technical instruction in etching. Whistler then left for Paris and remained an expatriot for the rest of his life, living alternately in Paris and London. He studied briefly in Paris at the Ecole Impériale, but was influenced more heavily by his own studies of the great masters and his contemporaries, including Henri Fantin-Latour, Charles Baudelaire, Gustave Courbet, and Edouard Manet.

Whistler's reputation as an etcher was firmly established with the 1858 publication of his group of "French Set" etchings. Shortly thereafter he settled in London and began work on his first major painting At the Piano (1859). His paintings, such as Symphony in White No. 1 The White Girl, (1862; National Gallery of Art, Washington, D.C.) and later portraits such as Arrangement in Black and Grey No. 1: The Artist's Mother (1871; Musée d'Orsay, Paris), won him international acclaim. His style was not easily defined although he was influenced by Realism and Impressionism and by Japanese art styles, which can be seen in his "Nocturne" landscapes, exhibited in 1877 at the Grovesnor Gallery in London, and influenced the development of his "butterfly signature" in the 1860s.

When art critic John Ruskin wrote a scathing review of the "Nocturnes" exhibition, Whistler sued for libel and won, although the resulting legal fees drove him into bankruptcy. He spent 14 months in Venice on a commission for the Fine Art Society and produced a succession of etchings and pastels that were subsequently exhibited in 1883 and helped to stabilize his financial situation.

In 1885 Whistler, famous for his witty and flamboyant personality, published his Ten O'Clock Lecture which espoused his belief in "art for arts sake," and asserted his refusal to ascribe narratives or morality to his art. Whistler's "Ten O'Clock" drew a response from Oscar Wilde and a public discourse between the two men followed in the London newspapers. It was later published in the pamphlet Wilde v. Whistler: being an acrimonious correspondence on art between Oscar Wilde and James A. McNeill Whistler.

In 1890 Whistler published The Gentle Art of Making Enemies, a collection of his best letters and witticisms. The book had originally been the idea of American journalist Sheridan Ford, to whom Whistler had advanced money which he then withdrew with the intent of completing the project alone. When Ford retaliated with a contraband edition of the book, Whistler pursued him through the courts and Ford was tried in Belgium in 1891.

Toward the end of his life Whistler focused increasingly on etching, drypoint and lithography, in addition to interior decoration such as the Peacock Room for Frederick Leyland's London residence begun in 1876. A happy marriage to Beatrix Godwin in 1888 ended in her death in May 1896. By the time of his death in London in 1903, Whistler was regarded as major artist of international renown.
Related Material:
The Archives holds several collections relating to James McNeill Whistler including the Katherine Prince collection relating to James McNeill Whistler, 1835- 1892; Edward Guthrie Kennedy papers concerning James McNeill Whistler in the New York Public Library, 1850-1902 and Selected papers concerning James McNeill Whistler in the New York Public Library, 1830-1950 (available on microfilm only, reel N25; originals reside at the New York Public Library); and James McNeill Whistler collection in the University of Glasgow, Special Collections, circa 1830-1963 (available on microfilm only, reels 4600-4611 and 4683-4699; originals reside in the Glasgow University Library, Dept. of Special Collections).
Provenance:
The collection was compiled from a series of accessions donated between 1959 and 2003. Most of the items in the collection were given to the Archives of American Art by Charles Feinberg in 1959. The pamphlet Wilde v. Whistler was donated by Mrs. Lois Field in 1964 and an invitation to Dr. and Mrs. Burnett was donated by Martha Fleischman in 2003.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art dealers -- France -- Paris  Search this
Painters  Search this
Topic:
Painting, American  Search this
Etchers  Search this
Genre/Form:
Postcards
Pamphlets
Citation:
James McNeill Whistler collection, 1863-1906, circa 1940. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.whisjame2
See more items in:
James McNeill Whistler collection
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw928311e59-846a-4af4-9d7d-74c442d7440c
EDAN-URL:
ead_collection:sova-aaa-whisjame2
Online Media:

Arthur L. and Joyce Lyon Dahl papers

Creator:
Dahl, Arthur L., 1942-  Search this
Dahl, Joyce Lyon  Search this
Names:
Barnett, Arthur  Search this
Guérin, Jacques  Search this
Hallsten, Pehr, d. 1965  Search this
Johnson, Dan Rhodes  Search this
Malraux, André, 1901-1976  Search this
Mathieu, Georges, 1921-  Search this
Seitz, William C. (William Chapin)  Search this
Seligman, Otto D., 1890-1966  Search this
Speyer, Darthea  Search this
Tobey, Mark  Search this
Willard, Marian, 1904-  Search this
Wummer, John  Search this
Extent:
3.6 Linear feet ((microfilmed on 7 reels))
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1926-1988
Scope and Contents:
Letters; photographs; writings; sketches; financial records; a scrapbook; a phonograph album; exhibition announcements and clippings mainly relating to Mark Tobey.
REEL 3829: Six letters to Dahl from Mark Tobey; a letter from Jermayne MacAgy requesting Tobey's painting "Autobiography" for an exhibit and Dahl's response; a letter from the Whitney Museum of Art regarding a Tobey painting; and a letter from the National Spiritual Assembly of the Bahai's of the U.S. regarding a Tobey exhibit. Also included is a phonograph album, 1959, of a Tobey musical composition "Suite for Flute," performed by John Wummer, inscribed on the jacket "To Mark Tobey, composer - Marion - 12/59."
REELS 1785-1788: Correspondence; writings on Tobey; three sketches by Tobey; financial records relating to the sale of art works; organizational records of the Pacific Northwest Arts Center; exhibition announcements and catalogs; clippings; a scrapbook; and 13 photographs. Among the correspondents are Tobey, Pehr Hallsten, art dealers Otto D. Seligman, Dan Rhodes Johnson, and Marian Willard Johnson, museum curator William C. Seitz, and Tobey's attorney Arthur Barnett.
REEL 1819: Photographs of two retrospective exhibitions of Mark Tobey's paintings at the Musee des Arts Decoratifs, Louvre, Paris, 1961, and at the Museum of Modern Art, New York, 1962. Included are installation shots and photographs of Tobey, Pehr Hallsten, William C. Seitz, Joyce Lyon Dahl, Andre Malraux, Georges Mathieu, Otto Seligman, Darthea Speyer, Arthur Barnett, Marian Willard Johnson, and Jacques Guerin.
REEL 4909(fr. 972-980): Two letters 1971 & 1975, from Arthur Barnett to Arthur Dahl regarding Tobey; a black and white photograph taken by Arthur Dahl of Mark Tobey having tea with friends, including Joyce Dahl, on the occassion of his retrospective at the Louvre, 1961; and a snapshot of Dahl, his wife, Tobey, Pehr, and others taken at the home of George and Lucile Herbert.
Biographical / Historical:
Art collectors; Pebble Beach and San Francisco, California. The Dahls became close friends with Mark Tobey (1892-1976) through their involvement in the Baha'i World Faith and corresponded regularly with him.
Provenance:
Donated 1977-1986 by Arthur and Joyce Lyon Dahl.
The second movement of Mark Tobey's composition, "Suite for Flute," was used on the sound track of "Mark Tobey," a 20-minute experimental film made in Seattle in 1952 by Robert Gardner. In 1959, Marian Willard Johnson, on the occasion of Tobey's birthday, engaged John Wummer to record this work privately. The record contained within this set of papers is the one she gave to Mark Tobey. Tobey gave the record to Dahl sometime before moving to Switzerland in 1960.
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:
Painters -- France -- Paris  Search this
Painters -- Washington (State) -- Seattle  Search this
Topic:
Abstract expressionism  Search this
Art -- Collectors and collecting  Search this
Artists and patrons -- France -- Paris  Search this
Genre/Form:
Scrapbooks
Identifier:
AAA.dahlarth
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93e8d3b1f-ae79-475b-856a-83fcb75da6f4
EDAN-URL:
ead_collection:sova-aaa-dahlarth

Henri Vever Papers

Creator:
Vever, Henri, 1854-1942  Search this
Names:
Vever, Henri, 1854-1942  Search this
Extent:
2.5 Linear feet (circa 35 items)
Type:
Collection descriptions
Archival materials
Photographs
Diaries
Place:
Le Havre (France)
Paris (France)
Date:
1867-1932
Summary:
The papers of Parisian jeweler and art collector Henri Vever (1854-1942) include six diaries; a ledger of his art acquisitions; original oil paintings by Vever; and photographs. The materials document Vever's circle of friends, patrons, and other art collectors in turn-of-the-century Paris.
Scope and Content Note:
The Henri Vever Papers measure 2.5 linear feet (35 items) and span the years 1875 --1932. The collection contains six diaries, an account ledger, 20 photographs, one guest list, one ceremonial pommel, and six original oil paintings by Henri Vever.
Arrangement note:
This collection is organized into five series:

Series 1: Diaries, 1878-1901

Series 2: Account Ledger, 1894, 1907-1917

Series 3: Photographs, 1867-1932, n.d

— Subseries 3.1: Henri Vever and Family

— Subseries 3.2: Vever Family Estate in Noyers, France

Series 4: Art Works, 1914-1915

— Subseries 4.1: Pommel

— Subseries 4.2: Le Havre, France

— Subseries 4.3: Château de Noyers
Biographical Information:
Henri Vever Chronology

1854 -- Vever born in Metz, France.

1870 -- Following the German annexation of Metz during the Franco-Prussian War, the Vever family leaves Metz for Luxembourg.

1871 -- Jean-Jacques Ernest Vever (father of Henri) buys a jewelry studio in Paris. Vever begins apprenticeship at Loguet and at Hallet and attends night classes at the Ecole des Art Décoratif in Paris.

1873 -- Vever enters the Ecole des Beaux-Arts and the studios of M.A. Millet and J.L. Gérôme.

1881 -- Jean-Jacques Ernest Vever retires and Vever and his brother Paul assume control of the jewelry shop (Maison Vever). Henri Vever marries Jeanne Monthiers.

1882 -- Jeanne Vever gives birth to Marguerite Vever, the couple's only child.

1885 -- Vever buys first painting.

1891 -- Vever travels to Russia where the Maison Vever takes part in a jewelry exhibition in Moscow.

1892 -- Vever becomes a regular participant of the dîners japonisants organized by art dealer Siegfried Bing.

1893 -- Vever appointed commissioner for jewelry to the World's Columbian Exposition, in Chicago. Maison Vever exhibits jewelry at the Exposition.

1894 -- Vever donates forty Japanese prints to the Louvre.

1900 -- Vever joins the Société Franco-Japonasie and is elected the mayor of Noyers, France.

1906-1908 -- Vever publishes, Bijouterie Française au XIXe Siècle.

1913 -- With Georges Marteau, Vever authors, Miniatures Persanesa catalogue of the 1912 Exposition des Arts Musulmans.

1915 -- Paul Vever dies.

1919 -- Maison Vever commissioned to make sword of honor offered to Marshall Ferdinand Foch by the city of Paris to celebrate the end of World War I.

1921 -- Vever retires.

1939 -- Marguerite Vever dies.

1942 -- Henri Vever dies.

1982 -- Maison Vever closes.

Jeweler, art collector, and author Henri Vever was born in Metz, France in 1854. Together with his older brother Paul, Henri Vever managed the family jewelry firm, Maison Vever, from 1881 until Paul's death in 1915 and Henri's retirement in 1921. As an art collector, Vever amassed a large collection of European, Asian, and Islamic art. Through his work as a jeweler, art collector, and author, Henri Vever played an important role in the twentieth-century art world.

To equip him with the proper skills to run Maison Vever, Henri Vever apprenticed in the studios of Louguet and of Hallet and attended the Ecole des Arts Décoratifs in 1871. Two years later, the Ecole des Beaux-Arts accepted Henri and he entered the studios of artists M.A. Millet and J.L. Gérôme. Jean-Jacque Ernest Vever retired from Maison Vever in 1881 and his two sons, Henri and Paul, assumed control.

The youngest son of Jean-Jacques Ernest Vever, Henri Vever was born into a family of jewelers. His grandfather, Pierre-Paul Vever, launched a successful jewelry shop in Metz in 1854. Upon retirement, Pierre-Paul Vever's son, Henri's father, assumed control of the shop. With the German annexation of Metz during the Franco-Prussian War in 1870, Jean-Jacque Ernest Vever took his family to Luxembourg and one year later acquired a jewelry shop at 19 Rue de la Paix in Paris and named the new shop Maison Vever.

That same year Henri married Jeanne Monthiers and she gave birth to the couple's only child, Margeurite, in 1882. Henri, Jeanne, and Margeurite Vever lived at 19 Rue de la Paix in the same building that housed Maison Vever. In 1892 Jeanne Vever inherited her family's estate in Noyers, France.

The Vever brothers ran a very successful jewelry studio. Not only did Maison Vever's clientele base expand during their tenure, but its designs were often prizewinners at various expositions around the world. The 1900 Exposition Universalle in Paris offers an example. The Maison Vever submission won a Grand Prix at this exposition in which the art movement Art Nouveau played a major role.

Henri Vever was a proponent of the Art Nouveau movement, a turn-of-the-century art movement whose adherents sought to forge a new, modern style, one that would, "reunite art and craft." According to curator Glenn Lowry, Vever's interest in Art Nouveau affected the Maison Vever's designs. "…during the 1880s many of the Maison Vever's designs were highly traditional, by the beginning of the 1890s the firm was at the vanguard of the art nouveau movement.

In addition to his work at Maison Vever, Vever amassed an enormous and influential collection of European, Asian, and Islamic art. Initially a collector of European art, by the late 1880s Vever's collecting interests expanded to include Asian and then Islamic art works. According to Lowry, Vever's interest in Islamic art was sparked in 1891 when he traveled to Moscow to participate in a jewelry exhibition. In approximately 1892 Vever joined Les Amis de l'Art Japonais, a group whose members met for dinners at which they discussed Japanese art. Claude Monet was also a member of this group.

From 1906 to 1908, Vever published a three-volume series, Bijouterie Française au XIXe Siècle . This set became the, "standard text on nineteenth-century jewelry". Through his art collections, writings, and profession, Henri Vever played an important role in the twentieth-century art world. He acquired a large art collection and often loaned pieces out for exhibition to various galleries and museums throughout the world. Henri Vever retired from Maison Vever in 1921 and the sons of Paul Vever, André and Pierre, took over the reigns. Henri Vever died in 1942 at the country estate in Noyers. Maison Vever continued operation until 1982 when it permanently shut its doors.
General note:
For a more detailed look at the life of Henri Vever, please see the following publication from which much of this biographical information originates: Lowry, G.D. with Nemazee, S. (1988). -- A jeweler's eye: Islamic arts of the book from the Vever Collection -- . Washington D.C.: Arthur M. Sackler Gallery, Smithsonian Insitution with Seattle: University of Washington Press.

Biographical Overview

1854 -- Vever born in Metz, France.

1870 -- Following the German annexation of Metz during the Franco-Prussian War, the Vever family leaves Metz for Luxembourg.

1871 -- Jean-Jacques Ernest Vever (father of Henri) buys a jewelry studio in Paris. Vever begins apprenticeship at Loguet and at Hallet and attends night classes at the Ecole des Art Décoratif in Paris.

1873 -- Vever enters the Ecole des Beaux-Arts and the studios of M.A. Millet and J.L. Gérôme.

1881 -- Jean-Jacques Ernest Vever retires and Vever and his brother Paul assume control of the jewelry shop (Maison Vever). Henri Vever marries Jeanne Monthiers.

1882 -- Jeanne Vever gives birth to Marguerite Vever, the couple's only child.

1885 -- Vever buys first painting.

1891 -- Vever travels to Russia where the Maison Vever takes part in a jewelry exhibition in Moscow.

1892 -- Vever becomes a regular participant of the dîners japonisants organized by art dealer Siegfried Bing.

1893 -- Vever appointed commissioner for jewelry to the World's Columbian Exposition, in Chicago. Maison Vever exhibits jewelry at the Exposition.

1894 -- Vever donates forty Japanese prints to the Louvre.

1900 -- Vever joins the Société Franco-Japonasie and is elected the mayor of Noyers, France.

1906-1908 -- Vever publishes, Bijouterie Française au XIXe Siècle.

1913 -- With Georges Marteau, Vever authors, Miniatures Persanes a catalogue of the 1912 Exposition des Arts Musulmans.

1915 -- Paul Vever dies.

1919 -- Maison Vever commissioned to make sword of honor offered to Marshall Ferdinand Foch by the city of Paris to celebrate the end of World War I.

1921 -- Vever retires.

1939 -- Marguerite Vever dies.

1942 -- Henri Vever dies.

1982 -- Maison Vever closes.
Related Archival Materials note:
The Arthur M. Sackler Gallery holds the, Vever Collection of Islamic Manuscripts. Additionally, the Archives holds, the Vever Family Photograph Album which contains photographs depicting the Vever family from 1881-1930 and the family estate in Noyers, France.
Provenance:
The Henri Vever Papers were donated to the Archives by the grandson of Henri Vever, François Mautin, in 1988. Additionally, Mr. Mautin donated six original oil paintings by Henri Vever to the Arthur M. Sackler Gallery in 1988. These paintings were transferred to the Archives in 1993.
Restrictions:
Collection is open for research.
Rights:
No restrictions on use.
Occupation:
Art dealers -- France -- Paris  Search this
Topic:
Art nouveau  Search this
Works of art  Search this
Art, Asian  Search this
Jewelry -- History -- Twentieth century -- France  Search this
Art, Islamic  Search this
Art, European  Search this
Art -- Collectors and collecting -- France -- Paris  Search this
Jewelry -- History -- Nineteenth century -- France  Search this
Genre/Form:
Photographs
Diaries
Citation:
Henri Vever Papers. FSA.A1988.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of François Mautin, 1988.
Identifier:
FSA.A1988.04
See more items in:
Henri Vever Papers
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
GUID:
https://n2t.net/ark:/65665/dc3d3281055-b7bc-4181-ba67-3231bf2750e6
EDAN-URL:
ead_collection:sova-fsa-a1988-04
Online Media:

Erle Loran papers

Creator:
Loran, Erle, 1905-1999  Search this
Names:
Fine Arts Museums of San Francisco  Search this
Friends of Ethnic Art  Search this
San Francisco Art Institute  Search this
University of California, Berkeley -- Faculty  Search this
Bearden, Romare, 1911-1988  Search this
Cézanne, Paul, 1839-1906  Search this
Dasburg, Andrew, 1887-1979  Search this
Greenberg, Clement, 1909-1994  Search this
Haley, John, 1905-1991  Search this
Hartley, Marsden, 1877-1943  Search this
Hatfield, Dalzell, 1893-1963  Search this
Hofmann, Hans, 1880-1966  Search this
Levinson, Harry  Search this
Sabean, Samuel  Search this
Schaefer, Bertha, 1895-1971  Search this
Still, Clyfford, 1904-  Search this
Wilke, Ulfert, 1907-1987  Search this
Extent:
12.6 Linear feet
Type:
Collection descriptions
Archival materials
Watercolors
Sketches
Photographs
Writings
Date:
1912-1999
Summary:
The papers of California painter, writer, and teacher Erle Loran measure 12.6 linear feet and date from 1912 to 1991. Found are biographical materials; two linear feet of personal and professional correspondence; personal business records; writings which include extensive drafts and notes for Loran's book Cezanne's Composition; over 400 items of artwork that include watercolors, drawings, charcoal, and pastel studies; printed materials; photographs of Loran, family, and friends, and artwork; and one audio recording of a lecture by Loran on Cezanne.
Scope and Content Note:
The papers of California painter and teacher Erle Loran measure 12.6 linear feet and date from 1912 to 1991. Found are biographical materials; two linear feet of personal and professional correspondence; personal business records; writings which include extensive drafts and notes for Loran's book Cezanne's Composition; over 400 items of artwork that include watercolors, drawings, charcoal, and pastel studies; printed materials; photographs of Loran, family, and friends, and artwork; and one audio recording of a lecture by Loran on Cezanne.

Biographical materials include biographical sketches, curriculum vita, a will, notes and a notebook, and an appointment book for 1987. Also found is an anniversary invitation, a certificate from the University of California, and the Pepsi-Cola award for 1948.

Two linear feet of correspondence is with artists, critics, galleries, and universities. Correspondents inlcude Romare Bearden, Andrew Dasburg, Clement Greenberg, John Haley, Dalzell Hatfield, Hans Hofmann, Harry Levinson (president of Permanent Pigments), Sam Sabean, Bertha Schaefer, Clyfford Still, and Ulfert Wilke. There is also correspondence with the University of California.

Personal business records include exhibition files, price and consignment lists, teaching materials, University of California Press records, and records relating to the publication of his book on Cézanne. Some of these records also document Loran's involvement with the Fine Arts Museum, Friends of Ethnic Arts, and the San Francisco Art Institute. In addition, there are records related to Loran's role in a donation of forty-five paintings by Hans Hofmann to the University Art Center. Also found are materials related to Loran's activities as an art collector including sales receipts, auction catalogs, and photographs of artwork owned by Loran.

Writings by Loran include a complete manuscript version of Cézanne's Composition along with additional notes and drafts, and numerous other short essays on Cézanne's life and art. Loran's other writings include essays about Hans Hofmann, Marsden Hartley, symbology in abstract art, and contemporary art.

Loran's career as an artist is extensively documented by four linear feet of original artwork, mostly preliminary sketches. The work demonstrates a variety of techniques including watercolor, pastel, pencil, pen, gouache, and oil sketches. Content includes landscapes, portraits, fantasy scenes, urban scenes, and rural scenes.

Printed materials include extensive newsclippings from seven decades, exhibition announcements, and exhibition catalogs. Photographs are of Loran, his second wife Clyta, the Loran family, friends and colleagues, artwork, and source materials. Also found within the papers is an audio recording on cassette of a lecture by Loran on Cézanne.
Arrangement:
The collection is arranged into 8 series:

Missing Title

Series 1: Biographical Materials, 1930s-1990s (Box 1; 0.25 linear feet)

Series 2: Correspondence, 1912-1992 (Boxes 1-3; 2.0 linear feet)

Series 3: Personal Business Records, 1930s-1992 (Box 3; 0.25 linear feet)

Series 4: Writings, 1921-1999 (Boxes 3-4; 1.25 linear feet)

Series 5: Artwork, 1920s-1980s (Boxes 4-8, 13-14; 4.3 linear feet)

Series 6: Printed Material, 1925-1999 (Boxes 8-10, 14; 2.3 linear feet)

Series 7: Photographs, 1910s-1990s (Boxes 10-12, 14; 2.5 linear feet)

Series 8: Audio Recording, 1982 (Box 12; 1 folder)
Biographical Note:
California painter, writer, and teacher Erle Loran was born on October 2, 1905 in Minneapolis, Minnesota. He attended the Minneapolis School of Art and graduated in 1926. That same year, Loran won the Paris Prize from the Chaloner Foundation which enabled him to study in France for the next three years. Here, he immersed himself into the world of Paul Cezanne. He lived for two years in Cézanne's studio, meeting many who knew Cezanne, including painter Emile Bernard, and art dealer Ambroise Vollard. This experience was critical to the development of Loran's artistic vision and his later writings and lectures about Cézanne.

In 1929, Loran returned to the United States, and published the article "Cézanne's Country" in The Arts in 1930. He then spent the early 1930s in Minnesota, after returning to Minneapolis to be treated for tuberculosis. There, Loran began to paint in a regionalist style, producing landscapes and scenes of life in rural Minnesota. In 1931, Loran was given his first one-man show at the Kraushaar Gallery in New York. During the depression, Loran began teaching art and was given painting commissions as part of the federal arts programs of the WPA.

Loran moved to California in 1937 and accepted a position as professor in the art department at the University of California, Berkeley. There he taught until retiring in 1973, serving as the department's chair in the 1950s. He established a program to invite east coast artists to teach at the university, and participants included Conrad Marca-Relli and Milton Resnick. Loran's students included Jay DeFeo, Richard Diebenkorn, and Sam Francis. In 1941 Loran began to write the synthesis of his research and interpretations about Cézanne's work, culminating in his pioneering book Cézanne's Composition published in 1943 by the University of California Press.

During this period Loran associated himself with modernist Hans Hofmann. Loran's early paintings were lyrical abstractions in primary colors; however, his style constantly changed with the times. Watercolor was Loran's medium of choice because it lent itself to his often-remote plein air locations, such as the ghost towns of California and Nevada. With John Haley and Worth Ryder he formed the "Berkeley Group," whose paintings consisted of scenes of the California and southwestern landscape painted in flat, open areas of color. During the war, painting in the open became increasingly difficult and Loran transitioned from plein-air painting to studio work. Shortly thereafter he began to focus his painting on abstraction.

Loran's artwork during the 1950s consisted primarily of abstractions based on natural forms like crystal and driftwood. In 1955, he spent six weeks studying with Hans Hofmann, whom he later called, along with Cézanne, a second "great father figure." In 1960, he was instrumental in securing a gift of forty-five paintings by Hans Hofmann for Berkeley's University Art Center. In the late 1960s, his work became a fusing of Op, Pop, and Hard Edge. From this he moved to figurative painting and later to geometric designs and symbols.

Loran continued to paint throughout the rest of his life in a variety of styles, including nudes, abstractions, and landscapes. Besides being an artist and a teacher, Loran was also a lifelong collector of ethnic art who specialized in African, Asian, Native American, and pre-Columbian tribal art. Many works from his collection are presently housed at the de Young Museum in San Francisco. Loran died in 1999 in Berkeley, at the age of 93.
Related Material:
Found in the Archives of American Art is an oral history interview with Erle Loran conducted by Herschel Chipp, June 18, 1981, and a 1981 interview with Erle and Clyta Loran in the Fine Arts Museums of San Francisco Interviews With Artists collection. Also found is a letter from Loran to Richard Wattenmaker, 1975.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reel 906) including photographs of artwork by Erle Loran and two clippings of reproductions of Loran's artwork. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Erle Loran lent the Archives of American Art materials for microfilming and donated papers in 1975. In 1999 Mrs. Ruth Schora-Loran, Loran's widow, donated additional material, including artworks.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art teachers -- California -- Berkeley  Search this
Painters -- California -- Berkeley  Search this
Topic:
Art, Abstract  Search this
Art -- Collectors and collecting -- California -- San Francisco Bay Area  Search this
Painting, Modern -- 20th century -- California -- Berkeley  Search this
Art, Modern -- 20th century  Search this
Genre/Form:
Watercolors
Sketches
Photographs
Writings
Citation:
Erle Loran Papers, 1912-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.loraerle
See more items in:
Erle Loran papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw925cee8b4-a8f7-4f7f-b704-bf23331c4f25
EDAN-URL:
ead_collection:sova-aaa-loraerle
Online Media:

Marcel Guiot letters from Arthur Heintzelman

Creator:
Guiot, Marcel  Search this
Heintzelman, Arthur William, 1891-1965  Search this
Extent:
3 Items ((10 p. on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1929-1937
Scope and Contents:
Three letters concerning Heintzelman's exhibition arrangements with Guiot. In the first and second letter, Heintzelman postpones a proposed exhibition because of ill health; and in the final letter, Heintzelman conveys the shipping specifics of the prints to be exhibited.
Biographical / Historical:
Marcel Guiot was an art dealer and publisher in Paris, France. Heintzelman was an etcher, painter, museum curator, lecturer, and writer on graphic artists whom Guiot represented in Paris, ca. 1925-1940. Heintzelman settled in Marblehead, Me., though he frequently travelled abroad.
Provenance:
Donated 1975 by Guiot.
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 dealers -- France -- Paris  Search this
Identifier:
AAA.guiomarc
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw926042e30-1b20-46fd-a2fd-6b3a09db5f22
EDAN-URL:
ead_collection:sova-aaa-guiomarc

Oral history interview with Darthea Speyer

Interviewee:
Speyer, Darthea  Search this
Interviewer:
Cummings, Paul  Search this
Extent:
32 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1976 June 28
Scope and Contents:
An interview of Darthea Speyer conducted 1976 June 28, by Paul Cummings, for the Archives of American Art, in her garden, in Paris, France .
Biographical / Historical:
Darthea Speyer is an art dealer in Paris, France.
General:
Originally recorded 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 1 hr., 2 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Art dealers -- France -- Paris  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.speyer76
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91878be3e-4314-484f-bf7c-edcc4fa06a7f
EDAN-URL:
ead_collection:sova-aaa-speyer76
Online Media:

Jacques Lipchitz papers

Creator:
Lipchitz, Jacques, 1891-1973  Search this
Bassett, Bruce W.  Search this
Names:
Buchholz Gallery (New York, N.Y.)  Search this
Curt Valentin Gallery (New York, N.Y.)  Search this
International Business Machines Corporation  Search this
Marlborough Gallery  Search this
Storm King Art Center  Search this
Cortois, Jenny  Search this
Frank, Mary, 1933-  Search this
Fry, Annette  Search this
Fry, Varian, 1907-1967  Search this
Gaspard, Leon, 1882-1964  Search this
Hay, Gyorgy  Search this
Ingersoll, R. Sturgis (Robert Sturgis), b. 1891  Search this
Landau, Gregorio  Search this
Larrea, Juan  Search this
Larrea, Marianne  Search this
Lipchitz, Yulla, 1911-  Search this
Modigliani, Amedeo, 1884-1920  Search this
Noguchi, Isamu, 1904-1988  Search this
Rapoport, Nathan, 1911-  Search this
Rodin, Auguste, 1840-1917  Search this
Soula, Camille, 1888-  Search this
Starrels, Celeste  Search this
Starrels, Joel  Search this
Stott, Deborah  Search this
Wilkinson, Alan G., 1941-  Search this
Zorach, William, 1887-1966  Search this
Collection Creator:
Lipchitz, Jacques, 1891-1973  Search this
Extent:
9.5 Linear feet (Boxes 1-10, OV 11-12)
Type:
Archival materials
Interviews
Diaries
Motion pictures (visual works)
Sound recordings
Scrapbooks
Sketches
Photographs
Video recordings
Date:
circa 1910-1999
bulk 1941-1999
Scope and Contents note:
The papers of sculptor Jacques Lipchitz measure 9.5 linear feet and are dated circa 1910-1999, with the bulk of the material from the period 1941-1999. Personal and professional correspondence comprises nearly half of the collection. It, along with biographical material, writings by and about Lipchitz, printed material, and photographs document Lipchitz's commissions, exhibitions, friendships, and interests. Also found are records relating to the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson.

Biographical material includes an address book, biographical notes, membership cards, rent receipts and a lease, and a survey of Lipchitz's property in Hastings-on-Hudson, NY.

Correspondence is both professional and personal in nature. Approximately 20 percent is in foreign languages. French predominates, followed by Russian; German, Dutch, Italian, Spanish, Latvian, Hebrew, and Yiddish are also represented.

Professional correspondence documents business transactions with architects, potential clients, museum officials, art dealers, and others concerning commissions, exhibition plans, loans of artwork, jury service, etc. Art groups, Jewish organizations and charities wrote to solicit donations of artwork for fundraising events and issued invitations to speak or be a guest of honor. Scholars contacted Lipchitz about their research and requested information about specific works by him, items in his collection, and his opinions on a variety of subjects. Also found are fan letters from aspiring artists seeking advice, and from the general public asking for the opportunity to meet Lipchitz and visit his studio. After the 1952 studio fire, many friends and strangers sent letters of condolence and encouragement.

Among those with whom Lipchtz corresponded regarding commissions are: The Brazilian Embassy ( Prometheus Strangling the Vulture, Ministry of Health and Education, Rio de Janeiro), Vicomte Charles de Noailles ( The Joy of Life) [photocopies of letters from Lipchitz], Jean Devémy (Nôtre Dame de Liesse, Nôtre Dame de Toute Grace at Assy, France), Jane Blaffer Owen (ornamental gates and a cast of Nôtre Dame de Liesse for Philip Johnson's Roofless Church in New Harmony, IN), and the University of Minnesota, Duluth ( Daniel Greysolon, Sieur du Luth). There are numerous letters from Fairmount Park Art Association, Philadelphia Museum of Art, and R. Sturgis Ingersoll regarding multiple projects in Philadelphia; from the Emory Memorial and Robert Taft, Jr. about a memorial to Senator Taft; and from Eloise Spaeth concerning a bust of John F. Kennedy. Also documenting commissions are letters from architects, among them: Eero Saarinen and Associates, Kenneth Franzheim, Philip L. Goodwin, I. M. Pei and Associates, Philip L. Goodwin, and Vincent G. Kling and Associates.

Art dealers, galleries, and museums were frequent correspondents. They include: The Baltimore Museum of Art, The Bezalel Museum, Brussels Universal and International Exposition, Buchholz Gallery, Cincinnati Art Museum, Corcoran Gallery of Art, Curt Valentin Gallery, Fine Arts Associates (later Otto Gerson Gallery, Inc.), Marlborough-Gerson Gallery, Inc., Museé Bourdelle, Museé National d'Arte Moderne (Paris), Museum of Modern Art (New York), The Museum of Primitive Art, The Pennsylvania Academy of the Fine Arts, Philadelphia Museum of Art, Portland Art Museum (Oregon), Rijksmuseum Kröller Muller Otterlo, Stedelijk Museum (Amsterdam), Walker Art Center, Whitney Museum of American Art, and Worcester Art Museum.

Max N. Benoff, Bernard and Becky Reis, and Alan and Janet Wurtzburger were among the collectors who corresponded with Lipchitz. French artist Pierre Dubaut wrote over an extended period about his collection of Géricault paintings and plans for its eventual disposition. Other individuals who wrote frequently include: critic and writer, Waldemar George; Irene Patai, author of Encounters: The Life of Jacques Lipchitz; and Bert Van Bork, documentary filmmaker and author of Jacques Lipchitz, The Artist at Work; and art historian, Henry R. Hope, a professor active in the College Art Association. The America-Israel Cultural Foundation, Inc. and the International Rescue Committee were also frequent correspondents.

Of particular note is a lengthy letter (with drafts) to Daniel-Henry Kahnweiler in which Lipchitz explained in detail how the art dealer's writings about Cubist sculpture failed to adequately recognize his contributions to the genre. Extensive correspondence with Rabbi Schneerson includes thoughts about "graven images" in sculpture and contains lengthy religious discussions. Letters from Juan Gris and Josette Gris consist mainly of general news and pleasantries; they do, however, mention Juan Gris's health, and in one letter Gris states he is afraid of working too much and tiring himself out. While basically illegible, Gertrude Stein's letters seem to be short, quick notes about meetings.

Correspondence with wife Yulla, nephew Gyorgy Hay, and close friends recounts personal and family news, activities, and sometimes touches on future plans. Among these correspondents are: Jenny Courtois, Varian and Annette Fry, Leo Gaspard, R. Sturgis Ingersoll, Gregorio Landau, Juan and Marianne Larrea, Camille Soula, and Joel and Celeste Starrels.

Eleven small pocket diaries, 1940-1965, contain brief, often sporadic entries noting appointments, events, addresses and phone numbers, notes of expenses, and include some sketches. Among the other writings by Lipchitz are: a notebook containing random notes on sculpture; a list of sculpture destroyed in the 1952 studio fire; short pieces and fragments of writings about sculptors Mary Frank, Natan Rapoport, Auguste Rodin, and William Zorach; a memoir of Amedeo Modigliani; and articles and reflections on contemporary art and the church.

Catalogue raisonné records concern the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson, sponsored by Marlborough Gallery, Inc.

Among the financial records are statements of the sculptor's accounts with Buchholz Gallery and Curt Valentin Gallery, and receipts for Lipchitz Collection purchases. Also found are insurance and tax records, as well as receipts for routine professional expenses and miscellaneous personal expenses.

Artwork consists of a few rough sketches by Lipchitz and several geometric designs by an unidentified artist. Two scrapbooks, 1945-1946, consist of newspaper clippings and a few items from other periodicals that mention Lipchitz or contain reproductions of his work. Volume 2 includes typescripts of an interview and remarks delivered by Lipchitz, both very brief.

Printed material consists of exhibition catalogs and announcements, articles, press releases, books, programs, and reproductions concerning Lipchitz's exhibitions, sculpture, commissions, and events honoring him. Of particular interest are architectural prints showing sites and project details of several commissions. Also found are a variety of printed items about general art topics.

Photographs document people, artwork, project sites and models, exhibition installations, events, and places. People include Jacques Lipchitz, family members, and other individuals. Artwork represented is by Lipchitz and other artists. Views of Lipchitz exhibition installations mainly document solo shows. Photographs of events record a variety of occasions, among them: the opening of Lipchitz's studio at Hastings-on-Hudson, NY; a dedication ceremony for Philip Johnson's Roofless Church in New Harmony, IN, with ornamental gates and a sculpture by Lipchitz; and Lipchitz addressing an anatomy class at Albert Einstein Medical College. Among the pictures of places are Lipchitz's studios in Hastings-on-Hudson, NY, and Pietrasanta, Italy, and a view of Picasso's Paris studio.
Collection Restrictions:
Use of original papers requires an appointment. Use of audiovisual materials 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.
Topic:
Artists' studios -- Photographs  Search this
Genre/Form:
Interviews
Diaries
Motion pictures (visual works)
Sound recordings
Scrapbooks
Sketches
Photographs
Video recordings
Collection Citation:
Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz, circa 1910-2001, bulk 1941-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lipcjacq2, Series 1
See more items in:
Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d9633b8a-e008-4cae-aa4e-80cfdb22757b
EDAN-URL:
ead_component:sova-aaa-lipcjacq2-ref14

Yasushi Tanaka letters to Frederic C. Torrey

Creator:
Tanaka, Yasushi, 1886-1941  Search this
Names:
Butler, John Davidson, 1890-1974  Search this
Cann, Louise Gebhard  Search this
Torrey, Frederic C.  Search this
Extent:
0.01 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1913-1924
1963
Summary:
The Yasushi Tanaka letters to Frederic C. Torrey date from 1913-1924, and 1963, and consist of 35 items. Letters from Tanaka to Torrey concern the contemporary art world, Tanaka's paintings and exhibitions, and other subjects.
Scope and Contents:
The Yasushi Tanaka letters to Frederic C. Torrey date from 1913-1924, and 1963, and consist of 35 items. Letters from Tanaka to Torrey concern the contemporary art world, Tanaka's paintings and exhibitions, and other subjects. Also found are three exhibition catalogs, an announcement, and three clippings. The 1963 item is a letter from Torrey's daughter, Dorothea Torrey Kelly, inquiring about a slide show of paintings.
Arrangement:
Due to the small size of this collection, papers are arranged as one series.
Biographical / Historical:
Yasushi Tanaka (1886-1941) was a Japanese American painter and art instructor, born in Saitana, Japan, on May 13, 1886. In 1904 he emigrated to Seattle, Washington, then settled permanently in Paris in 1920. Torrey was an art dealer with the San Francisco gallery Vickery, Atkins & Torrey. Tanaka was married to writer Louise Gebhard Cann, who was the author of several articles and books on French artists.
Provenance:
Donated 1992 by Gryffyd Partridge. The letters were received in the papers of his father, Seattle artist Roi Partridge; it is unclear how Partridge received them.
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.
Occupation:
Artists -- France -- Paris  Search this
Artists -- Washington (State) -- Seattle  Search this
Topic:
Asian American artists  Search this
Japanese American artists  Search this
Asian American painters  Search this
Identifier:
AAA.tanayasu
See more items in:
Yasushi Tanaka letters to Frederic C. Torrey
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98f904540-a28e-4a28-b97b-ccbd9961b0c6
EDAN-URL:
ead_collection:sova-aaa-tanayasu
Online Media:

Cecilia Beaux papers

Creator:
Beaux, Cecilia, 1855-1942  Search this
Names:
Andrew, A. Piatt (Abram Piatt), 1873-1936  Search this
Extent:
3.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Poems
Diaries
Date:
1863-1968
Summary:
The papers of the painter Cecilia Beaux measure 3.3 linear feet and date from 1863 to 1968. Papers document her education, career and personal life through family and professional correspondence, twelve diaries, lectures, essays, poems, notes, clippings, catalogs, pamphlets, exhibition records, business records, photographs, certificates, diplomas, and artifacts.
Scope and Content Note:
The papers of the painter Cecilia Beaux measure 3.3 linear feet and date from 1863 to 1968.

Biographical Materials include autobiographical notes written by Beaux, published biographical essays, and articles about Beaux. A lengthy correspondence from Beaux to her friend A. Piatt Andrew of Massachusetts is found, as well as correspondence with family and professional associates. Lengthy letters from Beaux to her family during trips to Europe contain scattered illustrations. Professional correspondents include other artists, teachers, patrons, critics, curators, dealers, and writers.

Writings include one early diary from the 1870s, and a series of eleven additional diaries dating from 1905 to 1913, which record daily activities related to her artwork and personal life. Numerous lectures and essays from her later career are found, often in multiple drafts, as are manuscripts of published and unpublished poems by Beaux. A single sketch, a study for a portrait, is also found.

A floor plan, lists of paintings, receipts, written bids, and other notes document the exhibition and sale of Beaux's artwork. Printed materials related to her career include exhibition catalogs and other ephemera, a scrapbook of primarily clippings related to her early career, and loose clippings related to her later career. Photographs include formal portraits of Cecilia Beaux and informal photographs of Beaux alone and with colleagues, friends, and family members in various settings including Concarneau, Pittsburgh, Philadelphia, Gloucester, and Malines, Belgium. Also found is a photograph of John Singer Sargent painting.
Arrangement:
The collection is arranged into 6 series, with multiple subseries in Series 2:

Missing Title

Series 1: Biographical Materials, circa 1893-1943 (Box 1, OV 4-5; 0.3 linear feet)

Series 2: Correspondence, circa 1863-1968 (Boxes 1-2; 1.2 linear feet)

Series 3: Writings, circa 1868-1954 (Boxes 2-3, OV 6; 0.8 linear feet)

Series 4: Personal Business Records, circa 1883-1936 (Box 3, OV 6; 0.2 linear feet)

Series 5: Printed Materials, circa 1874-1953 (Box 3, OV 6; 0.5 linear feet)

Series 6: Photographs, circa 1888-1919(Box 3; 0.3 linear feet)
Biographical Note:
Cecilia Beaux was born in Philadelphia in 1855. Her mother died just days after her birth, and Beaux and her sister went to live with their grandmother and aunts. Her adoptive family exposed her to fine art throughout her childhood and, once in school, Beaux excelled in her drawing classes and began training in the studio of Catherine A. Drinker, an artist and a cousin of her uncle Will Biddle. From 1881-1883 she attended life classes directed by William Sartain, who traveled to Philadelphia from New York to give criticisms. She also counted the Pennsylvania Academy of the Fine Arts master Thomas Eakins among her early influences, though she did not receive direct instruction from him.

Her first major success in painting was a double-portrait of her sister and nephew entitled Les Derniers Jours d'Enfance, exhibited first at the American Art Association, and in 1885 at the Pennsylvania Academy, where it won the Mary Smith Prize, the first of many prizes Beaux received during her lifetime. In 1887, the painting was exhibited at the Paris salon to critical acclaim. Beaux's reputation as a Philadelphia portraitist grew steadily with the execution of several portraits her in Chestnut Street studio, and in 1888 she traveled to Europe to continue her studio education.

In Paris, she joined the Academie Julien, where she received criticisms from Tony Robert Fleury and William Adolph Bougereau. She spent the summer in Concarneau, Brittany, where Alexander Harrison and Charles Lazar critiqued her work, and returned to Paris, where she attended the Academie Colarossi under and sought out private criticisms in the atelier of Benjamin Constant. She copied paintings and classical sculpture at the Louvre, and traveled throughout Europe to view the works of old masters. In England, she painted several portraits of her friends, the Darwins, before returning to Philadelphia in August of 1889. She traveled to Europe several more times in her life, including a trip in 1896 to see six of her paintings exhibited at the Salon de Champs de Mars. At the time this was an unprecedented number of paintings shown there by an American, and their strength earned her a membership in the Societé Nationale des Beaux-Arts.

In the 1890s, Beaux earned a living painting commissioned portraits at her Philadelphia studio, while experimenting with and refining her style and technique with portraits of friends and family such as Sita and Sarita, of her cousin Sarah Leavitt with her cat, The Dreamer, of her friend Caroline Smith, and Ernesta with Nurse, of her niece, who was a favorite sitter of Beaux's throughout her life. Beaux became the first full-time female faculty member at the Pennsylvania Academy of the Fine Arts in 1895, and continued teaching there until 1915.

In the late 1890s, Beaux painted several works for which she would be repeatedly honored, including Mother and Daughter, a double-portrait of Mrs. Clement A. Griscom and her daughter Frances, which won four gold medals at international exhibitions, and The Dancing Lesson, a double-portrait of Dorothea and Francesca Gilder, the daughters of Richard Watson Gilder, editor of Century Magazine and himself a devoted friend and supporter of Beaux. The Gilders, and especially Dorothea, were steady companions as well as sitters for Beaux throughout her adult life. In 1901 and 1902, Beaux painted Mrs. Theodore Roosevelt and her daughter Ethel in the White House, and in 1903, she was elected to the National Academy of Design.

By 1905 Beaux was living and working primarily in New York during the winter, and at "Green Alley," a home she built in Gloucester, Massachusetts, in the summer. She was introduced to Gloucester by her friend, the Harvard economist A. Piatt Andrew, and entertained a steady stream of intellectual, literary, and artistic friends such as Isabella Stuart Gardner, William James, and Thornton Oakley. Beaux continued to amass prizes and honors for her artwork, including an honorary doctorate at the University of Pennsylvania in 1908. She had solo exhibitions at Macbeth Gallery in 1910, the Corcoran Gallery in 1912, and M. Knoedler Gallery in 1915 and 1917. She had regular public speaking appearances, published articles, and interviews on such subjects as art education, women in art, and modernist art, the pervasive influence of which she eschewed as a passing fad.

In 1919, she traveled to war-torn Europe as the official portraitist of the United States War Portraits Commission painted the portraits of three European war heroes: Cardinal Mercier, Admiral Beatty, and Georges Clemenceau. In 1924, she broke her hip in Paris, and although she continued to paint, she would never again be the prolific painter of her earlier years due to the injury. She wrote her autobiography Background with Figures in 1930, and in 1935-1936, the American Academy of Arts and Letters held the largest exhibition of her work that was mounted during her lifetime. Beaux died in 1942 in Gloucester, at the age of 87.
Related Material:
The Pennsylvania Academy of the Fine Arts holds additional papers related to Cecilia Beaux, particularly personal photographs. Portions of these papers were loaned to the Archives of American Art for microfilming in 1985 and were microfilmed on reel 3658.

The Archives of American Art also holds the Dorothea Gilder papers regarding Cecilia Beaux.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 3425 and 3658) including a sketchbook and other related papers. Lent materials were returned to the lenders and are not described in the collection container inventory.
Provenance:
Portions of the papers were first lent for microfilming by Harrison Cultra in 1968. The bulk of the collection was donated in1970-1971 by Catherine Drinker Bowen, Beaux's niece, and by Cultra. In 1985, the sketchbook on reel 3425 was lent for microfilming by art dealer Jeffrey Brown with additional material by The Pennsylvania Academy of Fine Arts. A palette was donated by Helen Seely Wheelwright, whose former husband, Paul Seeley, was an artist and friend of Beaux. Awards and diplomas were gifted in 1995 by Cecilia Saltonstall, a descendant of Beaux. Material and a poster reproduction of Beaux's portrait of Rear-Admiral Sampson advertising an article in Century Magazine, 1899, was donated in 1991 by Alfred J. Walker, a dealer who organized a Beaux exhibition. He received the material along with artwork he exhibited from the estate of Richard Barker, who had received them from Harrison Cultra. Cultra had inherited them from Beaux's niece, Ernesta Drinker Barlow.
Restrictions:
The collection has been digitized and is available online via AAA's website.
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 -- Pennsylvania -- Philadelphia  Search this
Portrait painters -- Pennsylvania -- Philadelphia  Search this
Educators -- Pennsylvania -- Philadelphia  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women educators  Search this
Art -- Economic aspects  Search this
Art -- Study and teaching  Search this
Genre/Form:
Photographs
Poems
Diaries
Citation:
Cecilia Beaux papers, 1863-1968. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.beauceci
See more items in:
Cecilia Beaux papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b73488eb-4fd6-48d5-82fe-36e503af84c5
EDAN-URL:
ead_collection:sova-aaa-beauceci
Online Media:

Otto and Ilse Gerson papers

Creator:
Gerson, Otto  Search this
Gerson, Ilse, 1901-1980  Search this
Names:
Fine Arts Associates  Search this
Galerie Dina Vierny  Search this
Marlborough-Gerson Gallery  Search this
Otto Gerson Gallery (New York, N.Y.)  Search this
Lipchitz, Jacques, 1891-1973  Search this
Marcks, Gerhard  Search this
Smith, David, 1906-1965  Search this
Turner, J. M. W. (Joseph Mallord William), 1775-1851  Search this
Valentin, Curt, 1902-1954  Search this
Wotruba, Fritz, 1907-1975  Search this
Extent:
3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1933-1980
Summary:
The papers of New York art dealers and gallery owners Otto and Ilse Gerson measure 3 linear feet and date from 1933 to 1980. This collection includes biographical materials, correspondence, exhibition files, artists' files, collectors' files, business records, inventory and stock records, printed materials, and photographs.
Scope and Contents:
The papers of New York art dealers and gallery owners Otto and Ilse Gerson measure 3 linear feet and date from 1933 to 1980. This collection includes biographical materials, correspondence, exhibition files, artists' files, collectors' files, business records, inventory and stock records, printed materials, and photographs.

Biographical material consists of Otto and Ilse Gerson's naturalization certificates and Ilse Gerson's will.

Correspondence includes a mixture of personal and professional letters. There are a few scattered letters between Otto and Ilse Gerson as well as correspondence with clients, museums, dealers, and artists. Notable correspondents include art dealer Curt Valentin and the artist Gerhard Marcks. There is also correspondence with the Dina Vierny Gallery in Paris, France.

There is a small number of files on the Joseph Mallord William Turner exhibition at Gerson Gallery in 1960 which include correspondence, loan forms, and printed material.

Artists' files contain correspondence, estimates, inventories, sales records, and printed material for art work by five different artists such as Jacques Lipchitz, David Smith, and Fritz Wotruba.

Collectors' files include correspondence, invoices, photographs, and other material related to purchases by various art collectors.

Business records consist of purchase and sales records, audit reports, balance sheets, certificates of authenticity, a sales ledger, and legal documents regarding the business conducted by Fine Arts Associates and Otto Gerson Gallery, and legal agreements and contracts related to the Marlborough-Gerson Gallery merger.

Inventory and stock records include assorted art inventories, a stock book, and stock cards for artists.

Printed material includes a few Gerson Gallery exhibition catalogs and clippings of exhibition reviews.

Photographs consists of a few snapshots of Otto and Ilse Gerson and images of gallery installations.
Arrangement:
The collection is arranged as 9 series.

Missing Title

Series 1: Biographical Material, 1933-1973 (0.1 linear feet; Box 1)

Series 2: Correspondence, 1937-1980 (0.5 linear feet; Box 1)

Series 3: Turner Exhibition Files, 1960-1961 (0.1 linear feet; Box 1)

Series 4: Artists' Files, 1950-1966 (0.3 linear feet; Boxes 1-2)

Series 5: Collectors' Files, 1956-1966 (0.3 linear feet; Box 2)

Series 6: Business Records, circa 1945-1964 (0.3 linear feet; Box 2)

Series 7: Inventory and Stock Records, 1946-1965 (1.3 linear feet; Boxes 2-3)

Series 8: Printed Material, 1951-1962 (0.1 linear feet; Box 3)

Series 9: Photographs, circa 1945-circa 1960 (2 folders; Box 3)
Biographical / Historical:
Otto Gerson was born in Germany and immigrated to the United States, where he met and married Ilse Goehler in 1939. They both became U.S. citizens and together they rose to prominence as art dealers in New York City, circa 1940-1962, bringing works by noted post-war European (and some American) artists to the American market.

The Gersons also owned and operated galleries in New York, including Fine Arts Associates and Gerson Gallery. The Gerson Gallery was located at 41 East 57th Street in New York City and later merged with another gallery to form the Marlborough-Gerson Gallery around 1963, shortly after Otto Gerson's death.
Provenance:
The Otto and Ilse Gerson papers were donated to the Archives of American Art in 1984 by Indian Head Bank North on behalf of Otto and Ilse Gerson.
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.
Occupation:
Art dealers -- New York (State) -- New York  Search this
Gallery owners -- New York (State) -- New York  Search this
Topic:
Art -- Collectors and collecting  Search this
Art, Modern -- 20th century  Search this
Genre/Form:
Photographs
Citation:
Otto and Ilse Gerson papers, 1933-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gersotto
See more items in:
Otto and Ilse Gerson papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cbc935ee-c361-4837-a3d5-de249250bb2a
EDAN-URL:
ead_collection:sova-aaa-gersotto
Online Media:

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