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Pollock Galleries records

Creator:
Pollock Galleries  Search this
Names:
Southern Methodist University  Search this
Achepohl, Keith  Search this
Bywaters, Jerry  Search this
Dowell, James, 1949-  Search this
Fridge, Roy, 1927-  Search this
Jordan, William B., 1940-  Search this
Pauley, Hal  Search this
Extent:
3.2 Linear feet ((on 6 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1958-1979
Scope and Contents:
Files on ca. 150 exhibitions held 1958-1979. Files contain correspondence, mainly with the directors William Jordan and Jerry Bywaters; bio. info on artists, photos, writings, price lists, bills, press releases, exhibition catalogs and announcements, clippings and printed material.
REELS 1680-1681: Exhibition files include Schedules for 1965-1966, SMU art rental, Prints by Masters, Oskar Kokoschka, Paul Flores Drawings, Eskimo Exhibition, Dan Wingren, University Collects, Edgar Tafur, Onda Exhibition, Old Master Prints, Museum of Modern Art Drawings, IBM: The Bold Tradition, Heritage of Edward Weston, French Museums Fortnight, Architect Chooses Art, The American Woman as Artist, Wingren: Art 26 Project '67, 20th Print National Exhibition, Student Art Shows, Mirror of the Artist, Kepes Exhibition, Jewish Exhibition, British Fortnight, American Watercolor Society, Schedule 1968-1969, Tobin Exhibition, Ten in Focus, Roten Sales, DeForrest Judd, Japan Art Festival, Italian Fortnight, Da Vinci Models, Baskin Prints, American Drawings, 10 Contemporary Figures, Student Art, 1969, 1970, S.W. Watercolors, Printmakers, People Figures, R. Kotoske, Jasper Johns, Faculty Exhibits, Michael Thomas, Asiatic Artists, Photography as Printmaking, Prints from the Dallas Museum of Fine Arts, North Texas Faculties, The Lakeside Studio Sales, Diane Hopkins, Graduate Student Exhibits, Drawings Exhibition, Contemporary Russian Painting, Contemporary American Masterpieces, Don Bradley, American Folk Art, Keith Achepohl, Possible Exhibits, 1970-1971, Howard Neufeld, Ex-students and activities file, Exhibitions completed-AFA, Exhibitions completed-Smithsonian, Exhibitions completed-Western Association of Art Museums, and Philbrook Art Center's Exhibition: Texas Collects 20th Century Art.
REEL 1908: Exhibition files include Recent Paintings by James Dowell, May 20-June 30 1979, Student Exhibition, MFA Qualifying Exhibition Schneider, Lovell, Peters, Bos, April 20-27 1979, MFA Qualifying Exhibition Hausman, Carlson, Jarzemsky, April 11-18 1979, Drawings: Matisse to Lichtenstein, February 20-April 8 1979, Drawings: Matisse to Lichtenstein Publicity and invitations, Egypt: Day and Night (Keith Achepohl), January 14-February 11 1979, Contemporary Paintings from the Meadows Collection, November 1-December 13 1978, Modern Sculpture from the Nasher Collection, September 17-October 22 1978, Faculty Show August-September 1978, Exhibition Committee, 1977-1978, and documentation from the 1971 "One i at a Time" exhibition, showing works by Charles Williams, Jim Love, Roy Fridge, David McManaway, Hal Pauley, and Roger Winter among others. Also included in addition to items mentioned previously is a catalogue with an introduction written by guest curator and former director of the Dallas Museum for Contemporary Arts, Douglas MacAgy.
Biographical / Historical:
Art gallery; Dallas, Tex.
Provenance:
Microfilmed as part of the Archives of American Art's Texas project.
Lent for microfilming 1980 by University Gallery, Southern Methodist University.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Function:
Art galleries, Commercial -- Texas
Identifier:
AAA.pollgall
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-pollgall

Robert Isaacson gallery records

Creator:
Isaacson, Robert  Search this
Robert Isaacson Gallery  Search this
Durlacher Bros. (New York, N.Y.)  Search this
Hewitt Gallery (New York, N.Y.)  Search this
Names:
Dewing, Thomas Wilmer, 1851-1938  Search this
Friedensohn, Elias, 1924-  Search this
Mayhew, Richard, 1934-  Search this
Nadelman, Elie, 1882-1946  Search this
Regensburg, Sophy, 1885-1974  Search this
Ross, Alvin, 1920-1975  Search this
Schmidt, Katherine, 1898-1978  Search this
Tooker, George, 1920-2011  Search this
Wilde, John, 1919-2006  Search this
Extent:
1.4 Linear feet ((on 2 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1952-1967
Scope and Contents:
Material relating to the three New York City galleries owned by Isaacson: Hewitt Gallery, Robert Isaacson Gallery and Durlacher Bros.
Correspondence with dealers, collectors, museums, and art organizations, 1959-1966; 2 sales ledgers, 1956-1961; statements, 1957-1959; artists' accounts unpaid; 4 subject files, 1955-1967, pertaining to group shows, "Painters of the Beautiful" exhibition, Gerome exhibition, and Vassar exhibition; artists' files containing resumes, correspondence concerning the sale and exhibition of their work, price lists, financial material, clippings, exhibition catalogues, and photographs of 27 artists including Thomas Wilmer Dewing, Elias Friedensohn, Richard Mayhew, Elie Nadelman, Sophy Regensburg, Alvin Ross, Katherine Schmidt, George Tooker, and John Wilde.
Biographical / Historical:
Art galleries; New York City.
Provenance:
Donated 1976 by Robert Isaacson.
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:
Gallery owners -- New York (State) -- New York  Search this
Function:
Art galleries, Commercial -- New York (State)
Identifier:
AAA.isaarobe
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-isaarobe

Larom Munson papers and gallery records

Creator:
Munson, Larom B.  Search this
Names:
Little Gallery (Princeton, N.J.)  Search this
Munson Gallery (New Haven, Conn.)  Search this
Baskin, Leonard, 1922-2000  Search this
Grosz, George, 1893-1959  Search this
Held, John, 1889-1958  Search this
Moy, Seong  Search this
Scharl, Josef, 1896-1954  Search this
Townsend, Lee, 1895-1965  Search this
Twombly, Cy, 1928-  Search this
Extent:
48 Items
Type:
Collection descriptions
Archival materials
Date:
1952-1961
Scope and Contents:
REEL 3483: Two letters, May 15, 1961 and August 26, 1961, from Maxfield Parrish to Munson in New Haven, Conn. in which Parrish asserts that he has only a small number of paintings for an exhibit due to the success of an exhibition at Scott and Fowles in 1925 "which just about cleaned me out" and a "sell out" at the Boston sale of illustrations for Edith Wharton's Italian Gardens. Parrish discourages Munson from planning an exhibition of his work.
UNMICROFILMED: Files, 1952-1956, on artists Leonard Baskin, George Grosz, John Held, Jr., Seong Moy, Josef Scharl, Lee Townsend, and Cy Twombly containing mostly letters to Munson from the artists, as well as price lists and press releases, relating to exhibitions at Munson's Little Gallery, Princeton, N.J.
Biographical / Historical:
Gallery owner; Princeton, N.J. and New Haven, Ct. Munson operated the Little Gallery at 39 Palmer Square West, Princeton, N.J., 1947 to 1962, and the Munson Gallery, 33 Whitney St. and 275 Orange St., New Haven, Ct.
Provenance:
Maxfield Parrish letters donated 1975 by Munson. He donated the remainder in 1994. Additions are expected.
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:
Gallery owners -- New Jersey -- Princeton  Search this
Gallery owners -- Connecticut -- New Haven  Search this
Function:
Art galleries, Commercial -- Connecticut
Art galleries, Commercial -- New Jersey
Identifier:
AAA.munslaro
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-munslaro

Sybaris Gallery records

Creator:
Sybaris Gallery  Search this
Names:
Frey, Viola, 1933-2004  Search this
Marquis, Richard, 1945-  Search this
Extent:
9.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1989-2003
Scope and Contents:
Correspondence, artists' files, financial records, and slides relating to the activities of the Sybaris Gallery. Artists' files include Viola Frey and Richard Marquis.
Biographical / Historical:
Sybaris Gallery was an art gallery (established 1989-closed 2003) in Royal Oak, Michigan that exhibited contemporary craft artists in various media.
Provenance:
Donated 2014 by Linda Ross and Arlene Selik, directors of Sybaris Gallery.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Function:
Art galleries, Commercial -- Michigan
Identifier:
AAA.sybagall
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sybagall

John Hanna Galleries records

Creator:
John Hanna Galleries (Detroit, Mich.)  Search this
J.L. Hudson. Art department  Search this
Hanna Galleries (Detroit, Mich.)  Search this
Detroit Art Store  Search this
Hanna-Thomson Galleries (Detroit, Mich.)  Search this
John E. Hanna & Bros. (Detroit, Mich.)  Search this
John Hanna Company Galleries (Detroit, Mich.)  Search this
John Hanna, Inc. (Detroit, Mich.)  Search this
Extent:
5 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1885-1962
Scope and Contents:
Correspondence, receipts, invoices and miscellaneous papers, 1885-1962, of the John Hanna Galleries (and its precursors). Included are card files; ledgers; scrapbooks containing material on the J.L. Hudson art department in the 1930s and 1940s when it was operated by Jay Hanna; photographs; publications; and other records.
REEL 439 AND SCANNED Photo of John F. Carlson, previously microfilmed under Photos of Artists I, and scanned.
Biographical / Historical:
Several galleries owned wholly or in part by the Hanna family of Detroit over three generations. Past names include Detroit Art Store, Hanna-Thomson Galleries, John E. Hanna & Bros., John Hanna Company Galleries, John Hanna, Inc.
Provenance:
Donated 1961 and 1967 by Clifford and Jay Hanna.
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.
Function:
Art galleries, Commercial -- Michigan
Genre/Form:
Scrapbooks
Identifier:
AAA.johnhang
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-johnhang

Siden Gallery records

Creator:
Siden Gallery  Search this
Names:
Brooke Alexander, Inc.  Search this
Editions Alecto Ltd.  Search this
Gemini G.E.L. (Firm)  Search this
Marlborough Graphics Ltd.  Search this
Button, John, 1929-1982  Search this
Clarke, John Clem, 1937-  Search this
Crawford, Ralston, 1906-1978  Search this
Greene, Stephen, 1918-1999  Search this
Janis, Sidney, 1896-1989  Search this
Schapiro, Miriam, 1923-2015  Search this
Schneider, Arthur  Search this
Siden, Franklin  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1962-1994
bulk [bulk 1966-1970]
Scope and Contents:
Biographical material on artists, correspondence, photographs, and printed material relating to the Siden Gallery.
Biographical material relates to artists Al Blaustein, John Clem Clarke, and Arthur Schneider. Correspondence includes letters from John Button, Stephen Greene, Gemini G.E.L, Miriam Schapiro and Sidney Janis. Photographs are of artists and works of art relating to the gallery. Printed material includes print sales catalogs from various publishers, including Multiples Inc., Brooke Alexander Editions, Editions Alecto, and Marlborough Graphics; newspaper clippings and exhibit catalogs.
Biographical / Historical:
Art gallery, Detroit, Mich.; est. 1962; closed 1994; owner, Franklin Siden. Specialized in American artists, both contemporary and print market.
Provenance:
Donated in 2008 by Harriet Siden, Franklin Siden's widow.
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.
Function:
Art galleries, Commercial -- Michigan
Identifier:
AAA.sidegall
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sidegall

Sheldon Ross Gallery records

Creator:
Sheldon Ross  Search this
Names:
Art Students League (New York, N.Y.) -- Faculty  Search this
Middle Earth Gallery  Search this
United States. Federal Bureau of Investigation  Search this
Bearden, Romare, 1911-1988  Search this
Grosz, George, 1893-1959  Search this
Ross, Sheldon, 1925-2000  Search this
Extent:
1.8 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Writings
Photographs
Date:
circa 1970-2007
bulk 1976-1995
Summary:
The records of the Sheldon Ross Gallery, Birmingham, Michigan, measure 1.8 linear feet and are dated 1970-2007, with the bulk of materials dating from 1976-1995. The majority of the collection consists of artists' files. About half of the materials relate to Romare Bearden's work and his relationship with Sheldon Ross, the gallery owner. Also included are artists' files regarding George Grosz and Michigan artists. The contents of artists' files vary but generally include biographical information, printed materials and photographic images. The collection also contains correspondence, exhibition files, and photographs documenting the gallery's activities.
Scope and Contents note:
The records of the Sheldon Ross Gallery, Birmingham, Michigan, measure 1.8 linear feet and are dated 1970-2007, with the bulk of materials dating from 1976-1995. The majority of the collection consists of artists' files. About half of the materials relate to Romare Bearden's work and his relationship with Sheldon Ross, the gallery owner. Also included are artists' files regarding George Grosz and Michigan artists. The contents of artists' files vary but generally include biographical information, printed materials and photographic images. The collection also contains correspondence, exhibition files, and photographs documenting the gallery's activities.

The gallery records document its exhibition history, exhibition reviews, sales of artwork, and Ross' significant projects. Also included are photographs and slides documenting much of the artwork exhibited. Materials relating to Romare Bearden include writings by and about Bearden and his artwork and correspondence between Bearden and Ross during the years 1976-1989. There are many catalogs of Bearden's solo exhibitions at galleries, museums, and institutions, as well as exhibition reviews from newspapers and magazines, and images of Bearden's works.

The gallery exhibited other well-known artists including 20th century American artists and German Expressionists, notably George Grosz, who instructed Bearden at the Art Students League in New York. Found in the records are exhibition catalogues, price lists, inventory cards and artists' background materials. Also found is correspondence with museums, artists and clients, and slides and other photographic material of artwork offered by the gallery. Of note is correspondence between Sheldon Ross and the FBI concerning Ross' participation as an expert witness in a prosecution of individuals who were involved in Romare Bearden forgeries.

There are drawings of Sheldon Ross and The Sheldon Ross Galley by his son, Robert Ross. Photographs are of Sheldon Ross and Romare Bearden, Sheldon Ross with family and friends, and the predecessor gallery, Middle Earth Gallery.
Arrangement note:
The collection is arranged in 7 Series. Materials are generally arranged by record type and chronologically thereafter.

Series 1: Gallery History, 1976-2000 (Box 1, OV 4; 0.2 linear feet)

Series 2: Correspondence, 1982-1999 (Box 1; 0.1 linear feet)

Series 3: Exhibition Files, 1976-1988 (Box 1; 0.1 linear feet)

Series 4: Artists' Files, 1968-2007 (Boxes 1-2; 0.9 linear feet)

Series 5: Printed Material, 1976-2000 (Box 2; 2 folders; OV 4; 0.2 linear feet)

Series 6: Drawings by Robert Ross, after 1975, (OV 5; 0.1 linear feet)

Series 7: Photographic Materials, circa 1970-2000 (Boxes 2-3, OV 5; 0.2 linear feet)
Biographical/Historical note:
The Sheldon Ross Gallery (1975-1993), Birmingham, Michigan, and later Sheldon Ross Fine Arts and Sheldon Ross Fine Arts LLC (1993-2000) were operated by Sheldon Ross until his death in 2000. The Sheldon Ross Gallery was the only gallery in the Detroit area to consistently show German Expressionist art, emphasizing graphics. However, the gallery and Ross are best known for their early and continued support of Romare Bearden's work. The exhibition history shows a balance between an interest in local artists and an effort to offer diverse artwork from broad based sources.
Provenance:
The records were donated to the Archives of American Art in 2010 by Phyllis Ross, widow of Sheldon Ross.
Restrictions:
Use of original materials requires an appointment. Use of archival audiovisual recordings with no duplicate access 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:
Expressionism (Art)  Search this
Arts -- Forgeries  Search this
Function:
Art galleries, Commercial -- Michigan
Genre/Form:
Sketches
Writings
Photographs
Citation:
Sheldon Ross Gallery records, circa 1970-2007, bulk 1976-1995. Archives of American Art, Smithsonian Institution. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.shelrosg
See more items in:
Sheldon Ross Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-shelrosg

Susanne Hilberry Gallery records

Creator:
Susanne Hilberry Gallery  Search this
Hilberry, Susanne, 1943-2015  Search this
Names:
Artschwager, Richard, 1923-  Search this
Benglis, Lynda, 1941-  Search this
Kaneko, Jun, 1942-  Search this
Katz, Alex, 1927-  Search this
MacKenzie, Warren  Search this
Mitchnick, Nancy, 1947-  Search this
Pfaff, Judy, 1946-  Search this
Phelan, Ellen, 1943-  Search this
Scanga, Italo, 1932-2001  Search this
Shapiro, Joel  Search this
Extent:
5.8 Linear feet
10.1 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Date:
1964-2016
bulk 1976-2016
Summary:
The records of the Susanne Hilberry Gallery measure 5.8 linear feet and 10.1 gigabytes, and date from 1964-2017, with the bulk of the material dating from 1976-2016. Gallery artists include Richard Artschwager, Lynda Benglis, Jun Kaneko, Ellen Phelan, Italo Scanga, Joel Shapiro, Alex Katz, Judy Pfaff, Warren MacKenzie, and Nancy Mitchnick, among many others. The collection consists largely of files grouped by artist containing correspondence, sales records, and exhibition records documenting the activities of the gallery including outside or traveling exhibitions and other initiatives. Also included are significant amounts of visual materials (photographs, slides, transparencies, and digital images) documenting gallery exhibitions and the oeuvres of the gallery artists, as well as digital video recordings in the form of video works, recordings of artist talks, and artwork documentation.
Scope and Contents:
The records of the Susanne Hilberry Gallery measure 5.8 linear feet and 10.1 gigabytes, and date from 1964-2017, with the bulk of the material dating from 1976-2016. Gallery artists include Richard Artschwager, Lynda Benglis, Jun Kaneko, Ellen Phelan, Italo Scanga, Joel Shapiro, Alex Katz, Judy Pfaff, Warren MacKenzie, and Nancy Mitchnick, among many others. The collection consists largely of files grouped by artist containing correspondence, sales records, and exhibition records documenting the activities of the gallery including outside or traveling exhibitions and other initiatives. Also included are significant amounts of visual materials (photographs, slides, transparencies, and digital images) documenting gallery exhibitions and the oeuvres of the gallery artists, as well as digital video recordings in the form of video works, recordings of artist talks, and artwork documentation.

The artist files document each gallery artist's exhibition history in the gallery and include correspondence with the artist or estate as well as files documenting significant outside exhibitions, projects and the placement of artworks. The group show files document the production of select group exhibitions organized throughout the span of the gallery's operation. Transparencies and slides document the respective artists' exhibitions at Susanne Hilberry Gallery, and also contain representations of individual works. The group show slides document select group exhibitions.
Arrangement:
The collection is arranged as 4 series.

Series 1: Artist Files, circa 1964-2016 (4.5 Linear feet; Boxes 1-5, 10.1 Gigabytes; ER01-ER08)

Series 2: Group Show Files, 1976-2016 (0.3 Linear feet; Box 5)

Series 3: Tranparencies, circa 1980-1999 (0.2 Linear feet; Box 5)

Series 4: Slides, circa 1976-1999 (0.8 linear feet; Boxes 6-7)
Biographical / Historical:
Susanne Hilberry Gallery was a contemporary art gallery opened by Susanne Hilberry in 1976 in the Detroit suburb of Birmingham. The gallery moved to Ferndale, Michigan in 2002, and closed in early 2017 following Hilberry's death in 2015. Susanne Hilberry was a pioneering presence in the Detroit art scene. Before opening her gallery she earned a degree in art history from Wayne State University and a master's degree from Yale in architectural history, and later served as an assistant to the curator of the Detroit Institute of Arts, Sam Wagstaff. Wagstaff encouraged Susanne to open her gallery, which focused on bringing emerging art trends and established artists not being shown otherwise in the area, as well as championing the careers of local artists. Hilberry's dedication to developing the local art scene played out in her encouragement and support of the Museum of Contemporary Art, Detroit, where she served as a steering committee member after its opening in 2006.
Related Materials:
Related materials include Wayne State University's Cass Corridor Artists Oral History Project, Oral History with Susanne Feld Hilberry, April 1, 2010.
Provenance:
Donated 2017 by the Susanne Hilberry Estate via Daniel Feld, Trustee.
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. Use of archival audiovisual recordings and born-digital records with no duplicate 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.
Function:
Art galleries, Commercial -- Michigan
Genre/Form:
Photographs
Citation:
Susanne Hilberry Gallery records, 1964-2017, bulk 1976-2016. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.susahilb
See more items in:
Susanne Hilberry Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-susahilb
Online Media:

Gertrude Kasle Gallery records

Creator:
Gertrude Kasle Gallery (Detroit, Mich.)  Search this
Names:
Universal Limited Art Editions (Firm)  Search this
Bontecou, Lee, 1931-  Search this
De Kooning, Willem, 1904-1997  Search this
Dine, Jim, 1935-  Search this
Frankenthaler, Helen, 1928-2011  Search this
Goodman, Brenda Joyce, 1943-  Search this
Goodnough, Robert, 1917-  Search this
Goodyear, John L., 1930-  Search this
Gottlieb, Adolph, 1903-1974  Search this
Grosman, Tatyana, 1904-1982  Search this
Guston, Philip, 1913-1980  Search this
Hartigan, Grace  Search this
Jenkins, Paul, 1923-2012  Search this
Johnson, Ray, 1927-  Search this
Kasle, Gertrude, 1917-  Search this
Motherwell, Robert  Search this
Natkin, Robert, 1930-  Search this
Nesbitt, Lowell, 1933-1993  Search this
Oldenburg, Claes, 1929-  Search this
Pollock, Charles C.  Search this
Rauschenberg, Robert, 1925-2008  Search this
Schmidt, Julius, 1923-  Search this
Shapiro, Babe  Search this
Tall, Bill  Search this
Todd, Mike, 1935-  Search this
Tworkov, Jack  Search this
Extent:
8.1 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Photographs
Sound recordings
Date:
1949-1999
bulk 1964-1983
Summary:
The records of the Gertrude Kasle Gallery of Detroit measure 8.1 linear feet and date from 1949-1999, with the bulk of records dating from 1964-1983. The collection documents the establishment and operations of this contemporary American art gallery and consists of artists files, business and administrative files, exhibition files, photographic materials, and interviews and lectures in the form of sound recordings.
Scope and Content Note:
The records of the Gertrude Kasle Gallery of Detroit measure 8.1 linear feet and date from 1949-1999, with the bulk of the records dating from 1964-1983. The collection documents the establishment and operations of this contemporary American art gallery and consists of artists files, business and administrative files, exhibition files, photographic materials, and interviews and lectures in the form of sound recordings.

The bulk of the records consist of Artists' Files that document the professional and personal relationships Kasle fostered with the artists represented by the gallery, including sales and exhibitions. The files contain a wide variety of materials and the amount of documentation for each artist also varies. Typically the files contain personal and business correspondence, sales documentation, exhibition photographs, photographs of works of art, family photographs, photographs of the artist, exhibition announcements and catalogs, other printed materials, greeting cards, and other documents. Some of the artists well-represented in the files include Lee Bontecou, Wilhem De Kooning, Jim Dine, Helen Frankenthaler, Brenda Goodman, Robert Goodnaugh, John Goodyear, Adolph Gottlieb, Philip Guston, Grace Hartigan, Ray Johnson, Robert Motherwell, Robert Natkin, Lowell Nesbitt, Claes Oldenburg, Charles Pollock, Robert Rauschenberg, Julius Schmidt, Babe Shapiro, Michael Todd, and Jack Tworkov. Additional general information about exhibitions is found in Series 3, Exhibition Files and additional photographs are filed in Series 4, Photographic Material.

Gallery and personal business and administrative files house documents relating to the founding and incorporation of the gallery and general operations, as well as some of Gertrude Kasle personal business files. Also found in this series are files related to fine art prints and the gallery's business relationship with Universal Limited Art Editions.

Scattered exhibition files are found for a few of the gallery's exhibitions and also include general exhibition related files, such as clippings, announcements, guest lists, and schedules. Most of the information about the gallery's exhibitions is found in the Artists Files. Photographs and slides are found throughout the collection, particularly in the Artists Files, but Series 4, Photographic Materials houses an extensive collection of slides documenting art work by artists represented by the gallery. There is also an autographed photograph portrait of Lowell Nesbitt.

Sound recordings are of interviews and lectures. Interviews are with Tatyana Grosman, Lowell Nesbitt, Paul Jenkins, and Bill Tall. There are recorded lectures by Paul Jenkins and Jack Tworkov. The sound recordings are on both audio cassette reel to reel tapes. Transcripts are not available.
Arrangement:
The collection is arranged into 5 series:

Series 1: Artists Files, 1949-1999 (Boxes 1-5, OV 11; 5.1 linear feet)

Series 2: Gallery and Personal Business and Administrative Files, 1961-1995 (Boxes 6-7, OV 12; 1.2 linear feet)

Series 3: Exhibition Files, 1963-1976 (Box 7; 7 folders)

Series 4: Photographic Materials, 1953-1985 (Boxes 7, 10; 18 folders)

Series 5: Sound Recordings, 1966-1971 (Boxes 7-9; 7 folders)
Historical Note:
Gertrude Kasle was born in New York City on December 2, 1917, and began her life-long career in the art world very early, taking art classes in high school and Saturday classes at the Art Students League. She began her formal studies in art education at New York University (NYU) and later transfered to the University of Michigan. Kasle interrupted her studies during World War II to devote herself to family work while her husband served as a military chaplain. The family returned to Detroit in 1947 and she began classes at the Society of Arts and Crafts. After raising her three children, she enrolled in Wayne State University in 1955, completing her degree in 1962.

While a student in Detroit, Kasle was active in the Friends of Modern Art group at the Detroit Institute of Art, and became Vice President. In 1962, she was approached by Detroit businessman Franklin Siden to help him open a gallery where she would have a one-third partnership. During the first year of Siden Gallery's operations, Kasle introduced Detroit to the work of many notable contemporay American artists, such as Larry Rivers, Grace Hartigan, Robert Goodnough, and Robert Natkin.

Her tenure with the Siden Gallery was short-lived and by 1964 she left and began to contemplate her next move. Several of the artists she had represented at Siden Gallery encouraged her to open her own gallery. Local art critic Joy Hakanson Colby who worked for the Detroit News interviewed Kasle and claimed that Kasle was "looking for gallery space". Responding to the article, the Fischer Building offered Kasle a very attractive lease in the "New Center" area of downtown Detroit that would later become known as the city's gallery center, housing several prominent galleries.

With the help of her husband and son, she opened the doors of the Gertrude Kasle Gallery on April 10, 1965. The opening exhibition featured Larry Rivers, Grace Hartigan, Robert Goodnough, Irving Kreisberg, and Manousher Yektai. Kasle's goal was to introduce the city of Detroit to the foremost contemporary artists in the country, some already well-established such as Wilhelm De Kooning, Helen Frankenthaler, Philip Guston, Grace Hartigan, Robert Motherwell, Lowell Nesbitt, Claes Oldenburg, Charles Pollock, Larry Rivers, and Jack Tworkov, as well as others just becoming known, such as Jim Dine. Through group and one-man shows, the Gertrude Kasle Gallery represented contemporary painting, mixed media, and sculpture, focusing primarily on the Abstract Expressionist movement. The gallery also fostered many local Detroit artists, giving them their first shows, including Al Loving and Brenda Goodman.

During her earlier tenure with the Siden Gallery Kasle had worked with Tatyana Grosman of Universal Limited Art Editions which produced original prints of contemporary artists including Jasper Johns, Robert Rauschenberg, and Jim Dine. In her own gallery, Kasle continued her business relationship with Grosman and fine art print publishers, allowing the gallery access to many artists that were previously unattainable.

For eleven years the Gertrude Kasle Gallery operated as a thriving contemporary art gallery, forming the nucleus for the growing Detroit modern and avant garde art scene during the sixties and seventies. Although financially the gallery was not as successful as hoped, it provided a cultural forum for artists and Detroit art enthusiasts to convene, learn, and celebrate. In April, 1976 the gallery closed. When asked why she was closing the gallery, Gertrude Kasle said, "Because the need for a gallery like mine isn't as great as it was in the 1960's. Today the public respects and understands more about creative innovation in contemporary art." (Hakanson Colby, March, 1976) Although the gallery formally closed, Kasle continues to work as a art consultant and live in Detroit.

This historical note relies heavily on the essays written by Gertrude Kasle's son, Stephen available on the Gertrude Kasle Gallery website.
Related Material:
Also available at the Archives of American Art is an oral history interview with Gertrude Kasle conducted by Dennis Barrie on July 24, 1975.
Provenance:
The collection was donated to the Archives of American Art in 1976 and 1982 by Mrs. Gertrude Kasle. A third accession was donated by the Cincinnati Art Museum in 2002.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art, Modern -- 20th century  Search this
Function:
Art galleries, Commercial -- Michigan
Genre/Form:
Interviews
Photographs
Sound recordings
Citation:
The Gertrude Kasle Gallery records, 1949-1999 (bulk 1964-1983). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gertkasl
See more items in:
Gertrude Kasle Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-gertkasl
Online Media:

Willis Gallery records

Creator:
Willis Gallery (Detroit, Mich.)  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
[ca. 1971-1977]
Scope and Contents:
Correspondence; receipts of works sold and artists' financial statements; legal and financial documents; 1971-1973; lists of artists and notes on artists; benefit and exhibition announcements, 1971-1977; and clippings, 1971-1975. Artists represented include Bill Antonow, Diane Aceti (also director), Jim Chatelain, John Egner, George Ettle, Steve Faust, Mary Hoogasian, Aris Koutroulis, Doug James, Bradley Jones, Jerry Hunt, Robert Mayer, Michael McIntosh, Michael Luchs, Nancy Mitchnick, Greg Murphy, Gordon Newton, Ellen Phelan, Larry Rittenberg and Robert Sestok.
Biographical / Historical:
Art gallery; Detroit, Michigan.
Provenance:
Donated 1990 by Dave Roberts, Director of the Willis Gallery.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Topic:
Art -- Michigan  Search this
Function:
Art galleries, Commercial -- Michigan
Identifier:
AAA.willgall
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-willgall

J.L. Hudson Gallery records

Creator:
J.L. Hudson Gallery  Search this
Names:
Bearden, Romare, 1911-1988  Search this
Hassam, Childe, 1859-1935  Search this
Hudson, J. L. (Joseph L)  Search this
Noguchi, Isamu, 1904-1988  Search this
Valentiner, Wilhelm Reinhold, 1880-1958  Search this
Extent:
2.8 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1958-1973
Summary:
The records of Detroit's J.L. Hudson Gallery measure 2.8 linear feet and date from 1958 to 1973. The collection comprises administrative records consisting of card files, early gallery records, and a few other administrative files; correspondence with artists and galleries; artist files for Romare Bearden, Childe Hassam, Isamu Noguchi, and others; exhibition files for the gallery's first exhibition, The W.R. Valentiner Memorial Exhibition (1963-1964), and several other exhibitions held at the gallery; client files documenting business transactions with numerous organizations, galleries, and art schools; and printed materials consisting of exhibition catalogs, announcements, and posters for J.L. Hudson Gallery and other galleries.
Scope and Contents:
The records of Detroit art gallery J.L. Hudson Gallery measure 2.8 linear feet and date from 1958 to 1973. The collection comprises administrative records consisting of card files, early gallery records, and a few other administrative files; correspondence with artists and galleries; artist files for Romare Bearden, Childe Hassam, Isamu Noguchi, and others; exhibition files for the gallery's first exhibition, The W.R. Valentiner Memorial Exhibition (1963-1964), and several other exhibitions held at the gallery; client files documenting business transactions with numerous organizations, galleries, and art schools; and printed materials consisting of exhibition catalogs, announcements, and posters for J.L. Hudson Gallery and other galleries.
Arrangement:
The collection is arranged as six series.

Series 1: Administrative Records, 1960-1970 (0.2 linear feet; Box 1)

Series 2: Correspondence, 1963-1971 (0.6 linear feet; Box 1)

Series 3: Artist Files, 1963-1973 (1.0 linear feet; Boxes 1-2)

Series 4: Exhibition Files, 1958-1972 (0.6 linear feet; Boxes 2-3)

Series 5: Client Files, 1962-1972 (0.3 linear feet; Boxes 3-4)

Series 6: Printed Materials, circa 1965 (5 folders; Box 4)
Biographical / Historical:
The J.L. Hudson Gallery (est. 1963-1974) was a commercial art gallery in Detroit, Michigan. The gallery was founded in 1963 by Joseph L. Hudson, the president of the Detroit based J. L. Hudson Company, who had an interest in bringing high quality art to Detroit. Albert Landry, who had previously owned a gallery in New York, was hired as the gallery's first director. The gallery, located in the downtown branch of Hudson's, opened on November 18, 1963 with an exhibition of the W. R. Valentiner Collection. Although the gallery had some exhibitions which included 18th and 19th century art, it concentrated primarily on the 20th century, bringing the work of the best contemporary artists to Detroit. Oscar Piagentini succeeded Landry as gallery director in 1967. The gallery closed in 1974.
Provenance:
The J.L. Hudson Gallery records were donated by former gallery director, Joy Emery, as a representative for the J.L. Hudson company in its donation of the material.
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.
Function:
Art galleries, Commercial -- Michigan
Citation:
J.L. Hudson Gallery records, 1958-1973. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.jlhuds
See more items in:
J.L. Hudson Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-jlhuds

Arwin Galleries records

Creator:
Arwin Galleries (Detroit, Mich.)  Search this
Names:
Arwin, Kathleen G.  Search this
Arwin, Lester B.  Search this
Shahn, Ben, 1898-1969  Search this
Yunkers, Adja, 1900-1983  Search this
Extent:
8.3 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Motion pictures
Date:
1948-1981
Summary:
The records of Detroit art gallery Arwin Galleries measure 8.3 linear feet and date from 1948 to 1981. The collection comprises administrative records including sales, consignment and loan records; personal and professional correspondence; artist files for Chuang Chi, Richard Kozlow, Ben and Bernarda Bryson Shahn, Jo Snyder, Russel Thayer, Adja Yunkers, and others; printed materials documenting the 1963 fire at the gallery, exhibitions, and other activities related to the gallery; artwork by Frederick Simper, Donald Snydor, and a few others; and photographic materials and moving images including photos of the Arwins, gallery artists, and exhibitions, and two film reels relating to the gallery fire.
Scope and Contents:
The records of Detroit art gallery Arwin Galleries measure 8.3 linear feet and date from 1948 to 1981. The collection comprises administrative records containing sales records, consignment and loan records, appraisals, framing and graphics orders, and other administrative documents; personal and professional correspondence; artist's files for Chuang Chi, Richard Kozlow, Ben and Bernarda Bryson Shahn, Jo Snyder, Russel Thayer, Adja Yunkers, and others; printed materials documenting the 1963 fire at the gallery, exhibitions, and other articles related to the gallery; artwork by Frederick Simper, Donald Snydor, and a few others; and photographic materials and moving images include portraits and candid shots of the Arwins, gallery installations and openings, artists, works of art, and two film reels relating to the fire at the gallery.
Arrangement:
The collection is arranged as six series.

Series 1: Administrative Records, 1959-1981 (2.5 linear feet; Boxes 1-3, OV 11)

Series 2: Correspondence, 1958-1981 (0.4 linear feet; Box 3)

Series 3: Artist's Files, 1948-1981 (4.0 linear feet; Boxes 3-7, OV 11)

Series 4: Printed Materials, 1956-1981 (0.4 linear feet; Boxes 7-8, OV 11)

Series 5: Artwork, circa 1970s (0.2 linear feet; Box 3)

Series 6: Photographic Materials and Moving Images, circa 1950-1981 (0.8 linear feet; Box 3, FC 12)
Biographical / Historical:
The Arwin Galleries (est. 1963-1981) was founded by Lester and Kathleen (Kitty) Arwin in Detroit, Michigan.

Although intending to move to Chicago in the 1930s, Lester Arwin found himself remaining in Detroit due to lack of funds. There he spent time observing Diego Rivera painting the murals at the Detroit Institute of Art. He also visited Rivera's studio and purchased his first piece of artwork, thus beginning his career as an art collector and dealer. Arwin served as director of Grinnell Art Galleries prior to opening his own business.

In 1963, Lester and his wife Kitty opened the Arwin Galleries, specializing in contemporary art, in Robinsons Furniture Store on Washington Boulevard. A fire at the gallery in 1963 destroyed approximately $300,000 worth of artwork, including works by Picasso with an estimated value of $150,000. The Arwin Galleries reopened at W. Grand River in 1965. The Arwins worked closely with many renowned artists such as Richard Kozlow, Ben Shahn, and numerous others.

Lester and Kitty Arwin died in 1981.
Provenance:
The Arwin Galleries records were donated in 1981 and 1984 by Melanie Arwin, the daughter of Lester and Kathleen Arwin.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Women art dealers  Search this
Function:
Art galleries, Commercial -- Michigan
Genre/Form:
Drawings
Motion pictures
Citation:
Arwin Galleries records, 1948-1981. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.arwigall
See more items in:
Arwin Galleries records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-arwigall

Little Gallery records

Creator:
Little Gallery (Birmingham, Mich.)  Search this
Names:
De Erdely, Francis, 1904-1959  Search this
DeSalle, Albert  Search this
DeSalle, Peggy  Search this
Lamouroux, Jean  Search this
Sepeshy, Zoltan, 1898-1974  Search this
Extent:
11.5 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Drawings
Sound recordings
Date:
1918-1985
Summary:
The Little Gallery records measure 11.5 linear feet and date from 1918 to 1985. The collection documents Little Gallery's operations through artist, exhibition, and subject files, printed material, photographs, and one sound recording. The collection also includes personal and professional papers, photographs, and some printed material related to Marguerite (Peggy) and Albert deSalle.
Scope and Contents:
The Little Gallery records measure 11.5 linear feet and date from 1918 to 1985. The collection documents Little Gallery's operations through artist, exhibition, and subject files, printed material, photographs, and one sound recording. The collection also includes personal and professional papers, photographs, and some printed material related to Marguerite (Peggy) and Albert deSalle.

Artist files consist of photographs of artwork, correspondence, price lists, shipping information, biographical summaries, and some printed material pertaining to various artists represented at the Little Gallery. Two artists particularly documented in these records are Francis De Erdely and Jean Lamouroux, who were both friends of Peggy deSalle and her husband Albert.

Exhibition files contain correspondence, shipping information, price lists, inventories, publicity material, and several pieces of posterboard signage. Little Gallery's subject files consist of correspondence, photographs, financial information, printed material, and other items that relate to advertising, other galleries and museums, contributions of artwork, collectors, and more.

Peggy and Albert deSalle's personal and professional papers include papers related to Peggy's career as an artwork photographer, writings, correspondence with artists, price lists, inventories, artist biographies, and photographs that document Peggy deSalle's transition into selling the art of European craftsmen.

Printed material documents Little Gallery exhibitions and events, as well as activities of Peggy and Albert deSalle outside the gallery, artists, and events at other galleries and organizations. Also found is a deSalle family scrapbook.

Photographs are primarily of Peggy and Albert deSalle, gatherings with friends, and professional events, including interior and exterior photos of the Little Gallery.
Arrangement:
This collection is arranged as six series.

Series 1: Artist Files, 1950-1982 (Box 1-4; 4 linear feet)

Series 2: Exhibition Files, 1956-1975 (Box 5; .4 linear feet)

Series 3: Subject Files,1950-1988 (Box 5-9; 4 linear feet)

Series 4: Peggy and Albert deSalle Personal and Professional Papers, 1918-1985 (Box 9-11; 2.3 linear feet)

Series 5: Printed Material, 1922-1984 (Box 11, 13; .5 linear feet)

Series 6: Photographs, 1920s-1980s (Box 11-13, .4 linear feet)
Biographical / Historical:
Established in 1950 by Marguerite (Peggy) deSalle, the Little Gallery in Birmingham, Michigan was the first gallery in the region to deal in and exhibit contemporary art. Initially deSalle primarily handled the work of local artists starting out in their careers, and the work of faculty from the Cranbrook Academy of Art. deSalle's ex-husband and close friend, artist Zoltan Sepeshy, assisted her in meeting local artists to show at the gallery. Over time, Little Gallery added the works of artists from Europe, Africa, and other parts of the United States. deSalle also established a framing gallery in the basement, and showed jewelry and pottery in addition to paintings and sculptures.

Peggy deSalle (1903-1985) was born in Hungary where she lived until her family emigrated to New York when she was six years old. As a young woman she frequented the studio of Michigan painter Paul Honore, where she met Albert deSalle and Zoltan Sepeshy. In the 1920s she worked as a photographer for William Suhr, a restorer of paintings, at the Detroit Institute of Arts. While working there, she was offered the opportunity to learn photography at various museums in Europe, particularly Germany.

In the 1940s, prior to opening the Little Gallery, deSalle worked out of her home selling art, antiques, silver, goblets, bowls, and paintings brought to the United States by German political refugees. At one point her inventory was approximately 200 works of art.

Albert deSalle served in the U.S. army and was honorably discharged in 1918. In the 1920s and 1930s, deSalle performed in the theatre and worked in a secretarial and managerial capacity for artist Paul Honore. Not long after Peggy began Little Gallery, Albert joined the gallery's staff and remained there until his death in 1964.

In 1983, Peggy donated funds for the founding of the Peggy and Albert deSalle Gallery of Photography at the Detroit Institute of Art.
Provenance:
The papers were donated in 1985 by William E. Woolfenden as personal representative of the estate of Marguerite L. deSalle.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Women art dealers  Search this
Function:
Art galleries, Commercial -- Michigan
Genre/Form:
Scrapbooks
Drawings
Sound recordings
Citation:
Little Gallery records, 1918-1985. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.littgall
See more items in:
Little Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-littgall

Linda Farris Gallery records

Creator:
Linda Farris Gallery  Search this
Farris, Linda  Search this
Names:
Barry, Lynda, 1956-  Search this
Bruskin, Grisha, 1945-  Search this
Clough, Charles, 1951-  Search this
Landfield, Ronnie, 1947-  Search this
Luce, Charles, 1947-  Search this
Lucero, Michael, 1953-  Search this
Markovitz, Sherry  Search this
Nevelson, Louise, 1899-1988  Search this
Noah, Barbara  Search this
Pepper, Beverly  Search this
Extent:
13.4 Linear feet (13 Boxes, 1 sol, 1 ov folder)
Type:
Collection descriptions
Archival materials
Interviews
Scrapbooks
Lectures
Photographs
Sound recordings
Visitors' books
Date:
1969-1995
Summary:
The records of Seattle's avant-garde Linda Farris Gallery measure 13.4 linear feet and date from 1969-1995. The bulk of the records consist of artists' and exhibition files. Also found are gallery business correspondence, administrative files, event files, reference files, records of sales, scattered legal files, the personal papers of gallery owner Linda Farris, and printed materials.
Scope and Contents:
The records of Seattle's avant-garde Linda Farris Gallery measure 13.4 linear feet and date from 1969-1995. The bulk of the records consist of artists' and exhibition files. Also found are gallery business correspondence, administrative files, event files, reference files, records of sales, scattered legal files, the personal papers of gallery owner Linda Farris, and printed materials. Business correspondence is with galleries, dealers, publishers, museums, and other businesses. Administrative files are varied and include advertising and promotion materials, exhibition schedules, mailing lists, guest books, a scrapbook, and gallery history.

Artists' files are found for many contemporary American artists that interested Linda Farris or were represented by the gallery. The contents of each file vary but many include photographs and slides, writings, correspondence, and printed materials. Files for Lynda Barry, Grisha Brusking, Charles Clough, Ronnie Landfield, Charles Luce, Michael Lucerno, Sherry Markovitz, Louise Nevelson, Barbara Noah, and Beverly Pepper are particularly rich. Exhibition files are for Linda Farris Gallery exhibitions and include printed materials, correspondence, loan and consignment agreements, and photographs.

Event files cover anniversary celebrations, lectures, panel discussions, and receptions. There are 17 sound cassette recordings of "Art Now" lectures and "Focus" panel discussions. Scattered reference files contain collected materials on subjects of interest to the gallery. There are scattered financial, sales, and legal files. Sales records cover 1970-1979.

Linda Farris' personal papers contain printed materials about her and the gallery and other materials concerning her professional and curatorial work outside of the gallery. There is also a transcript of an oral history with Farris and a news interview.

Printed materials include published books and magazines, clippings and exhibition catalogs and announcements.

Photographs are scattered throughout adminstrative files, exhibition files, event files, and Linda Farris' personal papers.
Arrangement:
The collection is arranged as 8 series.

Series 1: Correspondence, 1975-1991, undated (Box 1; .7 linear feet)

Series 2: Administrative files, 1970-1995, undated (Box 1-2, 14; 1 linear feet)

Series 3: Artists and Exhibition files, 1969-1995, undated (Box 2-9, 15; 6.6 linear feet)

Series 4: Events files, 1971-1990, undated (Box 9, 14; 0.6 linear feet)

Series 5: Reference files, 1969-1994, undated (Box 9-10; 0.6 linear feet)

Series 6: Financial, Sales and Legal files, 1970-1995 (Box 10; 0.4 linear feet)

Series 7: Linda Farris Papers, 1972-1995 (Box 10-11; .9 linear feet)

Series 8: Printed Materials, 1970-1995 (Box 11-14; 2 linear feet)
Biographical / Historical:
The Linda Farris Gallery was Seattle's leading venue for contemporary art during its twenty-five years of operation.

Linda Farris opened Gallery East in Bellevue in 1970, and a year later moved to Pioneer Square in Seattle, changing the name to Linda Farris Gallery in 1973. The gallery continued to present contemporary art there until closing in December 1995. Art dealer Linda Farris began representing a group of promising artists, all graduates of the University of Washington. Greg Kucera of the Greg Kucera Gallery noted in an article for the Seattle Weekly, "Their work could be loosely seen as a movement, complete with aesthetic interrelationships, convenient marriages, an unintelligible manifesto in the form of Dennis Evans' quirky pronouncements…" From the same article he states, "Her avant-garde gallery changed forever the nature of being an art dealer in Seattle." It was among the three or four most influential galleries in the Pacific Northwest.

The gallery held exhibitions of many nationally known contemporary artists, including Sam Francis, Louise Nevelson, and Robert Rauschenberg, as well as Northwest artists Jeffrey Bishop, Dennis Evans, Sherry Markovitz, Nancy Mee, Norie Sato, and Patti Warashina. The latter group started with the gallery and remained loyal at the time of its closing in 1995.

Art dealer, collector and free-lance curator Linda B. Farris (1944-2005), a native of San Francisco and a graduate of the University of California, Berkeley (1966), was an active participant in and style setter for the Seattle art world for the twenty-five years she was in business. As a member of the art community she actively supported the Henry Art Gallery at the University of Washington, Pilchuck Glass School, and Seattle Art Museum's Contemporary Art Council, and served on the boards of directors of Henry Art Gallery and Factory Visual Arts. Farris curated "Eight Seattle Artists" in 1981 for the Los Angeles Institute of Contemporary Art and "Self Portraits" in 1983 for the Los Angeles Municipal Art Gallery. She also led the movement to keep Henry Moore's "Vertebrae" from leaving Seattle, and instituted a series of talks, panel discussions, performances, and tours in her gallery, and in and around Seattle.

This note draws heavily on the Archives of American Art's West Coast Regional Collector Paul Karlstrom's collection description written upon acquisition of the papers.
Related Materials:
An oral history interview with Linda Farris conducted in 1975 by Sally Swenson, is located in the University of Washington University Libraries Digital Collections.
Provenance:
The Linda Farris Gallery records were donated to the Archives of American Art by owner Linda Farris in 1995 at the time she closed the gallery.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Avant-garde (Aesthetics)  Search this
Art -- Washington (State) -- Exhibitions  Search this
Art, Modern -- 20th century -- Washington (State) -- Seattle  Search this
Artists -- Northwestern States  Search this
Transcripts  Search this
Function:
Art galleries, Commercial -- Washington (State)
Genre/Form:
Interviews
Scrapbooks
Lectures
Photographs
Sound recordings
Visitors' books
Citation:
Linda Farris Gallery records, 1969-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lindfarr
See more items in:
Linda Farris Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lindfarr

Dorothy Weiss Gallery records

Creator:
Dorothy Weiss Gallery  Search this
Names:
Meyer Breyer Weiss Contemporary Crafts, Inc.  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Breier, Virginia, 1927-  Search this
Meyer, Sue, 1913-  Search this
Weiss, Dorothy, 1921-  Search this
Extent:
18.7 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1964-2001
bulk 1984-2000
Summary:
The records of the Dorothy Weiss Gallery measure 18.7 linear feet and date from circa 1964 to 2001 (bulk 1984-2000). The collection documents the gallery's relationships with approximately three hundred artists, through artist files, exhibition files, and subject files, and is an excellent source of information on the work of contemporary ceramic and glass sculptors.
Scope and Content Note:
The Dorothy Weiss Gallery records measure 18.7 linear feet and date from circa 1964 to 2001 (bulk 1984-2000). Although the collection includes limited records overlapping from Weiss's dealings with some artists through Meyer Breier Weiss Contemporary Crafts, Inc., its primary focus is the activities of the Dorothy Weiss Gallery. The records provide fairly extensive coverage of the gallery's relationship with approximately thirty artists, and scattered documentation of Weiss's relationship with more than two hundred other artists whose work she represented, exhibited, or had an interest in at some time during the gallery's existence. Overall, the collection is an excellent source of information on contemporary ceramic and glass sculpture and includes artist files of correspondence, administrative records, printed matter, and photographic material, as well as exhibition files and subject files.

The bulk of the collection consists of Series 1: Artist Files, which includes correspondence with artists, biographical material, printed material relating to exhibitions at the Dorothy Weiss Gallery and elsewhere, photographs of artwork, and administrative records such as price lists, inventories, and loan and consignment documentation.

Series 2: Exhibition Files contains records of approximately twenty-five group exhibitions held at the gallery, such as the Teapot Invitationals, and various exhibitions of glass artists. Records relating to exhibitions for a single artist's work can be found in Series 1: Artist Files.

Series 3: Subject Files consists of a small group of general subject files maintained by the gallery, such as correspondence with different types of clients, and records relating to specific projects outside the gallery in which Weiss participated.
Arrangement:
The collection is arranged into three series. The basic original arrangement was maintained throughout the collection. Records are generally arranged alphabetically by artist, subject, or exhibition, and then chronologically.

Series 1: Artist Files, circa 1964-2001(boxes 1-18, OV 21; 17.5 linear ft.)

Series 2: Exhibition Files, 1979-1999 (box 19; 0.75 linear ft.)

Series 3: Subject Files, 1983-2000 (boxes 19-20; 0.45 linear ft.)
Historical Note:
Dorothy Weiss founded the Dorothy Weiss Gallery in 1984. From 1977 Weiss had partnered with Sue Meyer and Virginia Breier in Meyer Breier Weiss Contemporary Crafts, Inc. She opened her new gallery in what was to be its permanent location at 256 Sutter Street in downtown San Francisco.

The Dorothy Weiss Gallery was renowned in San Francisco for the quality of its crafts program and the artists it represented. Weiss focused on contemporary ceramic and glass sculpture with an emphasis on non-functional, sculptural work. She also showed some paintings, drawings and monotypes, and her interests in this area expanded, particularly in the mid-1990s, when she began exhibiting works by artists such as Daniel Brice, in addition to showing drawings by artists generally known for their sculpture.

Weiss represented many of the country's most prominent and well-respected artists working in glass, including Hank Murta Adams, Dale Chihuly, Richard Marquis, William Morris, Jay Musler, Clifford Rainey, Italo Scanga, Therman Statom, and James Watkins. Glass exhibitions at the gallery included site-specific installations by artists such as Statom, Adams, and Rainey.

The gallery was also an important venue for contemporary ceramists such as Rudy Autio, Annette Corcoran, Ruth Duckworth, Michael Lucero, Beverly Mayeri, and Robert Turner. Monthly exhibitions were held on the Third floor with the Fourth floor gallery space being reserved for a variety of work by gallery artists. "Teapot Invitationals," and exhibitions of "new glass" featuring teapots and glass sculpture by a variety of artists were held regularly at the gallery.

Weiss was an active participant in the wider art community, hosting collector's groups from around the country and guests during conferences, such as a special Glass Invitational in conjunction with the Glass Art Society Conference in March 1994. As a member of the San Francisco Art Dealers Association (SFADA), Weiss participated in First Thursday, holding opening receptions to new exhibitions on the first Thursday of every month and often accompanying them with artists' talks. She also participated in an annual Introductions show along with other SFADA members, representing younger, emerging artists in the Bay Area and nationwide. In addition, Weiss assisted the American Craft Museum in developing its exhibition programs, and was a Collectors Circle Affiliate for the American Craft Council.

Dorothy Weiss closed the gallery in 2000, retiring at the age of eighty. On October 4 of that year the Museum of Craft and Folk Art in San Francisco opened A Tribute to Dorothy Weiss, an exhibition selected from her own collection.
Provenance:
The collection was donated to the Archives of American Art by Dorothy Weiss in 2002.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
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:
Handicraft -- Exhibitions  Search this
Handicraft -- California  Search this
Glass sculpture  Search this
Ceramic sculpture  Search this
Function:
Art galleries, Commercial -- California
Citation:
Dorothy Weiss Gallery records, circa 1964-2001 (bulk 1984-2000). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.doroweig
See more items in:
Dorothy Weiss Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-doroweig
Online Media:

Parish Gallery records

Creator:
Parish Gallery  Search this
Names:
Adenaike, Tayo  Search this
Gentry, Herbert, 1919-2003  Search this
Horrom, Marilyn  Search this
Jarrell, Wadsworth, 1929-  Search this
Lewis, Samella S.  Search this
McNeil, Bruce  Search this
Miller, Sandi Ritchie  Search this
Montgomery, Evangeline J.  Search this
Ogburn, David, 1942-  Search this
Parish, Norman, 1937-2013  Search this
Extent:
6.4 Linear feet
11.73 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Date:
1940-2013
bulk 1991-2013
Summary:
The records of Parish Gallery, located in Washington, D.C., measure 6.4 linear feet and 11.73 gigabytes and date from 1940 to 2013, with the bulk of the collection dating from 1991 to 2013. This collection consists primarily of exhibition files, but also includes administrative files, as well as some biographical material related to Norman Parish's career before opening the gallery.
Scope and Contents:
The records of Parish Gallery, located in Washington, D.C., measure 6.4 linear feet and 11.73 gigabytes and date from 1940 to 2013, with the bulk of the collection dating from 1991 to 2013. This collection consists primarily of exhibition files, but also includes administrative files, as well as some biographical material related to Norman Parish's career before opening the gallery.

Exhibition files include printed materials, photographic material, correspondence, loan agreements, born digital material, and other materials related to exhibitions held at Parish Gallery. In some cases exhibition files serve as artist files as well, with additional materials related to artists' work. Notable artists included within these files are Wadsworth A. Jarrell, Oggi Ogburn, Evangeline J. (E. J.) Montgomery, Bruce McNeil, Sandi Ritchie Miller, Marilyn Horrom, Samella Lewis, Herbert Gentry, and Tayo Adenaike.

Administrative files include materials related to Galleries 1054, where Parish Gallery was located; as well as a proposal from Black Artists of DC; correspondence; and clippings.

Norman Parish biographical material includes documents related to Norman Parish's art career and honors and awards he received.
Arrangement:
The collection is arranged in three series.

Series 1: Exhibition Files, 1940-1944, 1971-2013, bulk 1991-2013 (Boxes 1-6, OV 8-9, ER01-ER20; 5.9 linear feet)

Series 2: Administrative Files, 1991-2013 (Box 6; 0.3 linear feet)

Series 3: Norman Parish Biographical Material, 1970-2013 (Box 7, ER21; 0.2 linear feet)
Biographical / Historical:
Parish Gallery (established 1991-closed 2013) was a gallery in Washington, D.C. Founded by artist Norman Parish (1937-2013), the gallery was known for exhibiting artwork by African American and international artists. Parish's wife Gwen co-managed the gallery from the beginning until it closed its doors. Over the course of its 22 year history, Parish gallery exhibited the works of over 170 artists from Ghana, Nigeria, Morocco, France, Spain, Greece, and many other countries. In articles and interviews, Parish underscored the gallery's dedication to showing the works of underrepresented artists of all backgrounds, though the primary focus was the members of the African diaspora, and help them promote their work.

Norman Parish was born in New Orleans in 1937 and grew up in Chicago. He graduated from the Art Institute of Chicago in 1960 and contributed to the Wall of Respect in 1967. He was a painter and was in several exhibitions. In 1988 Parish moved to Washington, D.C., and he opened Parish Gallery in Georgetown in 1991, making it one of the few galleries owned by an African American at the time. The gallery quickly grew in prominence over the years highlighting the works of major artists such as Wadsworth Jarrell, Herbert Gentry, and E. J. Montgomery, as well as artists from the United States and abroad. The final exhibition at the gallery was entitled Norman Parish: The Artist in 2013. Parish passed away that same year.
Provenance:
The Parish Gallery records were donated in 2016 by Gwen Parish, Norman Parish's widow.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of electronic records with no duplicate copies 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:
Gallery owners -- Washington (D.C.)  Search this
Painters -- Washington (D.C.)  Search this
Topic:
African American artists  Search this
Function:
Art galleries, Commercial -- Washington (D.C.)
Genre/Form:
Photographs
Citation:
Parish Gallery records, 1940-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.parigall
See more items in:
Parish Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-parigall
Online Media:

Henri Gallery records

Creator:
Henri Gallery (Washington, D.C.)  Search this
Names:
Abraham, Darryl  Search this
Anderson, Harry  Search this
Antin, Eleanor  Search this
Bickley-Green, Cynthia  Search this
Clements, Robert  Search this
Edelson, Mary Beth  Search this
Exton, Leslie  Search this
Greenly, Colin, 1928-  Search this
Herbert, Mimi  Search this
Ishida, Traute  Search this
Kogelnik, Kiki  Search this
Kohlmeyer, Ida, 1912-1997  Search this
McGowin, Ed, 1938-  Search this
Nakashima, Tom, 1941-  Search this
Outerbridge, Graeme, 1950-  Search this
Puryear, Martin, 1941-  Search this
Scanga, Italo, 1932-2001  Search this
Stackhouse, Robert  Search this
Van Brunt, Philip  Search this
Wilson, May, 1905-1986  Search this
Extent:
55.4 Linear feet
Type:
Collection descriptions
Archival materials
Illustrated letters
Greeting cards
Sketches
Drawings
Photographs
Date:
circa early 1900s
1940-1996
bulk 1957-1995
Summary:
The records of Henri Gallery, a Washington, D.C. gallery that showed painters from the Washington Color School and emerging artists, measure 55.4 linear feet and date from circa early 1900s, 1940 to 1996, with the bulk of the materials dating from 1957 to 1995. The gallery's relationship with artists and clients, exhibitions, sales, and other business is documented in alphabetical files containing a wide variety of materials, including correspondence, sales records, printed materials, photographs, slides, and motion picture film. Additional correspondence, newspaper clippings, 114 exhibition posters, scattered drawings, illustrated cards, and photographic materials are also found in the collection.
Scope and Contents:
The records of Henri Gallery, a Washington, D.C. gallery which showed painters from the Washington Color School and emerging artists, measure 55.4 linear feet and date from circa early 1900s, 1940 to 1996, with the bulk of the materials dating from 1957 to 1995. The gallery's relationship with artists and clients, exhibitions, sales, and other business is documented in alphabetical files containing a wide variety of materials, including correspondence, sales records, printed materials, photographs, slides, and motion picture film. Additional correspondence, newspaper clippings, 114 exhibition posters, scattered drawings, illustrated cards, and photographic materials are also found in the collection.

General Correspondence includes incoming business correspondence with artists, clients, galleries, and museums, regarding artwork, exhibitions, and other business issues. Also found here are holiday cards, handmade cards, and illustrated correspondence.

The bulk of the records consist of Alphabetical Files contains materials regarding artists, clients, exhibitions, galleries, museums, and various subjects of interest, originally arranged alphabetically by folder title. Folders range in quantity and variety of materials, including correspondence, printed materials, photographs, sales and consignment records, resumes, price lists, and exhibition records. There are especially rich or extensive files for Darryl Abraham, Harry Anderson, Cynthia Bickley-Green, Robert Clements, Mary Beth Edelson, Leslie Exton, Colin Greenly, Mimi Herbert, Traute Ishida, Kiki Kogelnik, Ida Kohlmeyer, Ed McGowin, Tom Nakashima, Graeme Outerbridge, Martin Puryear, Italo Scanga, Robert Stackhouse, Philip Van Brunt, and May Wilson. Of interest is the complete series of Eleanor Antin's 100 Boots postcards.

The bulk of Printed Materials are newspaper clippings regarding artists, exhibitions, and Henri Gallery. There are also 114 posters dating from 1959-1979 from Henri Gallery exhibitions and other galleries' exhibitions of artists in which the Henri Gallery represented.

Artwork is comprised of loose drawings and sketches, many of Henri. Photographic Materials contains black and white photographs, scattered color photographs, snapshots, and slides of artwork, exhibitions, Henri, the galleries spaces, and the Not New shop. Most photographs are undated.
Arrangement:
The collection is arranged as 5 series.

Series 1: General Correspondence, 1949-1996 (2.5 linear feet; Boxes 1-3, 55-56)

Series 2: Alphabetical Files, 1947-1996 (50.3 linear feet; Boxes 3-52, 55-57, OV58, FC 62-63)

Series 3: Printed Materials, circa early 1900s, 1940-1995 (1.2 linear feet; Boxes 52-53, 57, OVs 59-61)

Series 4: Artwork, 1952-circa 1996 (5 folders; Boxes 53, 57)

Series 5: Photographic Materials, 1940s-1981 (0.8 linear feet; Boxes 53-54, 57)
Biographical / Historical:
In 1957, Henrietta Ehrsam, known as "Henri," opened her eponymous gallery on South Royal Street in Alexandria, Virginia. Earlier, Henri and her partner Florie King had sold clothing, antiques, accessories and decorative arts alongside works of art at their consignment shop "Not New" in the same location.

In the 1960s, Henri showed painters Gene Davis, Thomas Downing, and Howard Mehring of the Washington Color School. In the summer of 1967, Henri Gallery moved to 1500 21st Street NW, closer to the Dupont Circle art galleries in Washington, D.C. Henri showed many young and emerging artists, including Cynthia Bickley-Green, William Christenberry, Mary Beth Edelson, Ed McGowin, and Robert Stackhouse. In 1970, Henri opened a second location, Henri 2, at 1875 Connecticut Ave. NW to exhibit large scale works. In 1972, Henri 2 held Martin Puryear's first solo exhibition in the United States. Henri passed away in 1996 and both gallery locations closed shortly thereafter.
Provenance:
Henri donated the Henri Gallery records in three accessions between 1980 - 1981. Henri's daughter, Helen Schnoebelen donated additional records in 1996.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Color-field painting  Search this
Function:
Art galleries, Commercial -- Washington (D.C.)
Genre/Form:
Illustrated letters
Greeting cards
Sketches
Drawings
Photographs
Citation:
Henri Gallery records, circa early 1900s, 1940-1996, bulk 1957-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.henrgall
See more items in:
Henri Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-henrgall
Online Media:

C.G. Sloan & Co. auction catalogs

Creator:
C.G. Sloan & Company  Search this
Extent:
0.8 Linear feet
Type:
Collection descriptions
Archival materials
Auction catalogs
Date:
1893-1963
Summary:
The records of C.G. Sloan & Co. measure 0.8 linear feet and include 117 auction catalogs dating from 1893 to 1963.
Scope and Contents:
The records of C.G. Sloan & Co. measure 0.8 linear feet and include 117 auction catalogs dating from 1893 to 1963.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
C.G. Sloan and Co. (1853-2003) was an auction gallery in Washington, D.C. Founded in 1853 and closed in 2003. The gallery reopened in 2003 as Sloans and Kenyon.
Provenance:
Donated by C.G. Sloan and Co. in 1964.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Topic:
Art auctions--Washington (D.C.)--Catalogs  Search this
Function:
Art galleries, Commercial -- Washington (D.C.)
Genre/Form:
Auction catalogs
Citation:
C.G. Sloan & Co. auction catalogs, 1893-1963. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cgsloa
See more items in:
C.G. Sloan & Co. auction catalogs
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-cgsloa

Kathleen Ewing Gallery records

Creator:
Kathleen Ewing Gallery  Search this
Names:
Abell, Sam  Search this
Appel, Allen  Search this
Bubley, Esther  Search this
Cook, Diane  Search this
DiPerna, Frank, 1947-  Search this
Everton, Macduff  Search this
Ewing, Kathleen  Search this
Heisey, Adriel  Search this
Jenshel, Len  Search this
Lavelle, Frank  Search this
Lawson, Stephen  Search this
MacLean, Alex S.  Search this
McKaig, Bruce  Search this
Power, Mark, 1959-  Search this
Purcell, Rosamond Wolff  Search this
Simgrod, Claudia  Search this
Szabo, Steve, 1940-  Search this
Vazquez, Claudio  Search this
Extent:
3.8 Linear feet
0.475 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Date:
1946-2009
bulk 1975-2009
Summary:
The records of Kathleen Ewing Gallery, a Washington, DC, gallery that specialized in the work of photographers, measure 3.8 linear feet and 0.475 GB and date from 1946 to 2009, with the bulk of the papers dating from 1975 to 2009. Artists' files make up the bulk of the collection and include exhibition planning documents, correspondence, price lists, publicity, artist statements, and photographs of artwork. Also found are one file of gallery history, two letters, and printed material. Printed material consists of press clippings and a complete set of gallery exhibition announcements. Some of the materials are in digital format.
Scope and Contents:
The records of Kathleen Ewing Gallery, a Washington, DC, gallery that specialized in the work of photographers, measure 3.8 linear feet and 0.475 GB and date from 1946 to 2009, with the bulk of the papers dating from 1975 to 2009. Artists' files make up the bulk of the collection and include exhibition planning documents, correspondence, price lists, publicity, artist statements, and photographs of artwork. Also found are one file of gallery history, two letters, and printed material. Printed material consists of press clippings and a complete set of gallery exhibition announcements. Some of the materials are in digital format.

Artists documented within the artists' files include Sam Abell, Allen Appel, Esther Bubley, Frank Di Perna, Macduff Everton, Adriel Heisey, Len Jenshel and Diane Cook, Frank Lavelle, Stephen Lawson, Alex MacLean, Bruce McKaig, Mark Power, Rosamond Purcell, Claudia Smigrod, Steve Szabo, and Claudio Vazquez among many others.
Arrangement:
The collection is arranged as 3 series.

Series 1: Administrative Files, 1981-2000s (2 folders; Box 1)

Series 2: Artists' Files, 1946, 1975-2009 (2.6 Linear feet; Boxes 1-3, 0.475 GB; ER01-ER04)

Series 3: Printed Material, 1976-2007 (1.2 Linear feet; Boxes 3-5)
Biographical / Historical:
The Kathleen Ewing Gallery (established 1976-closed 2009) was a gallery in Washington, D.C. that primarily exhibited photographers. Kathleen Ewing owned and operated the gallery.

Previously working at the National Gallery of Art, Ewing became a private art dealer specializing in contemporary photography in 1976. She initially worked out of her home, and in 1978 opened a gallery on the Georgetown waterfront. In 1983, the gallery moved to Dupont Circle. She regularly exhibited the work of Washington, DC, photographers and was also the executive director of the Association of International Photography Art Dealers.
Provenance:
The collection was donated in 2015 by Kathleen Ewing, gallery director.
Restrictions:
Use of 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.
Topic:
Photography  Search this
Function:
Art galleries, Commercial -- Washington (D.C.)
Genre/Form:
Photographs
Citation:
Kathleen Ewing Gallery records, 1946-2009, bulk 1975-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kathewig
See more items in:
Kathleen Ewing Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kathewig

Susan Conway Gallery records

Creator:
Susan Conway Gallery (Washington, D.C.)  Search this
Names:
Susan Conway Conservation Studio  Search this
Aho, Eric, 1966-  Search this
Barnet, Will, 1911-2012  Search this
Baskin, Leonard, 1922-2000  Search this
Dehner, Dorothy, 1901-1994  Search this
Doyle, Mary Ellen, 1938-  Search this
Honeycutt, Brece  Search this
Merrill, Ross M.  Search this
Natzler, Gertrud  Search this
Natzler, Otto  Search this
Oliphant, Pat, 1935-  Search this
Scott, Sam  Search this
Sorel, Edward, 1929-  Search this
Extent:
23.9 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Visitors' books
Date:
circa 1928, 1940s-2003
bulk 1987-2003
Summary:
The modern and contemporary art gallery records of the Susan Conway Gallery in Washington, D.C. measure 23.9 linear feet and 0.001 GB and date from circa 1928, circa 1940s-2003, with the bulk of the material dating from 1987-2003. Nearly half of the collection documents the gallery's work as the sole representative of artist and political cartoonist Pat Oliphant through administrative records, exhibition files, press clippings, and a handful of photographs. Also found in the collection are artists' files of other artists represented by the gallery, client files, administrative records, printed and digital materials, and the records of the Susan Conway Conservation Studio.
Scope and Contents:
The modern and contemporary art gallery records of the Susan Conway Gallery in Washington, D.C. measure 23.9 linear feet and 0.001 GB and date from circa 1928, circa 1940s-2003, with the bulk of the material dating from 1987-2003. Nearly half of the collection documents the gallery's work as the sole representative of artist and political cartoonist Pat Oliphant through administrative records, exhibition files, press clippings, and a handful of photographs. Also found in the collection are artists' files of other artists represented by the gallery, client files, administrative records, printed and digital materials, and the records of the Susan Conway Conservation Studio.

The exhibitions and sales of artwork by artists represented by the gallery are documented through biographies, correspondence, exhibition printed materials, newspaper clippings, notes, price lists, photographs and slides, sales invoices, and shipping records. Artists of interest include Eric Aho, Will Barnet, Leonard Baskin, Dorothy Dehner, Mary Ellen Doyle, Brece Honeycutt, Ross M. Merrill, Otto and Gertrud Natzler, Sam Scott and Edward Sorel. Sales records can also be found in Client Files, along with correspondence with individual clients and galleries, notes, and shipping records.

Nearly half of the collection documents the exhibitions, loans, promotion and sales of Patrick Oliphant's artwork. Materials found include contracts, correspondence with galleries, museums, and clients, exhibition printed materials, notes, scattered photographs, price lists, proposals, sales invoices, and shipping records. Much of the material relates to Oliphant's numerous traveling exhibitions, including "Oliphant: The New World Order in Drawing and Sculpture," "Oliphant's Presidents: 25 Years of Caricatures," and "Seven Presidents."

Administrative and Miscellaneous Records includes records related to the daily operation of the gallery space and promotion of the gallery, such as contracts, a guest book, documents created for Conway's public talks, scattered documentation regarding gifts of artwork, and other miscellaneous records.

The bulk of the printed materials are Susan Conway Gallery exhibition announcements. Also found are some catalogs, clippings and a brochure. The records of the Susan Conway Conservation Studio include condition reports, correspondence with clients, notes, and photographs and slides of artwork.

None of the gallery records of the Santa Fe location are included in this collection. The outlying dates of this collection include older photographs and a negative found in the Artists' Files.
Arrangement:
The collection is arranged as 7 series.

Series 1: Artists' Files, circa 1928, circa 1940s-2003 (7.6 linear feet; Boxes 1-8, 26, OV 27, ER01; 0.001 GB)

Series 2: Client Files, 1987-2003 (1.85 linear feet; Boxes 8-10, 26)

Series 3: Exhibition and Loan Files, 1987-2003 (0.85 linear feet; Boxes 10-11)

Series 4: Records Regarding Patrick Oliphant, 1976-2003 (11.5 linear feet; Boxes 11-22, 26, OV 27, ER02; 0.001 GB)

Series 5: Administrative and Miscellaneous Records, 1978-2003 (0.5 linear feet; Box 22)

Series 6: Printed Materials, 1987-2002 (0.4 linear feet; Box 23, OV 27)

Series 7: Susan Conway Conservation Studio Records, before 1970s-1993 (1.2 linear feet; Boxes 23-26)
Biographical / Historical:
The Susan Conway Gallery was founded by Susan Conway in the Georgetown neighborhood of Washington, D.C., in 1987. In 1991, the gallery relocated in Georgetown to the Glackens House, former home of painter William Glackens. In 1998, Conway opened a second location in Santa Fe, New Mexico. Prior to opening the gallery, Conway ran her own fine arts conservation studio.

The gallery represents modern and contemporary artists including Eric Aho, Will Barnet, Leonard Baskin, Dorothy Dehner, Mary Ellen Doyle, Brece Honeycutt, Ross M. Merrill, Otto and Gertrud Natzler, Sam Scott and Edward Sorel. The gallery is also the sole fine arts representative of sculpture, painting, and drawings by Patrick Oliphant, a Pulitzer Prize winning political cartoonist.
Provenance:
The Susan Conway Gallery records were donated by Susan Conway in 2004 and 2007.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Function:
Art galleries, Commercial -- Washington (D.C.)
Genre/Form:
Photographs
Visitors' books
Citation:
Susan Conway Gallery records, circa 1928, circa 1940s-2003. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.susacong
See more items in:
Susan Conway Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-susacong
Online Media:

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