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Dwan Gallery records

Creator:
Dwan Gallery  Search this
Names:
Dwan Gallery (Los Angeles, Calif.)  Search this
Dwan Gallery (New York, N.Y.)  Search this
Anastasi, William, 1933-  Search this
Andre, Carl, 1935-  Search this
Arakawa, Shusaku, 1936-  Search this
Arman, 1928-2005  Search this
Dwan, Virginia  Search this
Flavin, Dan, 1933-  Search this
Goodnough, Robert, 1917-  Search this
Guston, Philip, 1913-1980  Search this
Kienholz, Edward, 1927-  Search this
Klein, Yves, 1928-1962  Search this
Kline, Franz, 1910-1962  Search this
LeWitt, Sol, 1928-2007  Search this
Mitchell, Joan, 1926-1992  Search this
Morris, Robert, 1931-2018  Search this
Oldenburg, Claes, 1929-  Search this
Parker, Raymond, 1922-  Search this
Rauschenberg, Robert, 1925-2008  Search this
Raysse, Martial, 1936-  Search this
Reinhardt, Ad, 1913-1967  Search this
Richenburg, Robert  Search this
Rivers, Larry, 1925-  Search this
Saint-Phalle, Niki de, 1930-  Search this
Scarpitta, Salvatore, 1919-2007  Search this
Smithson, Robert  Search this
Snelson, Kenneth, 1927-2016  Search this
Weber, John, 1932-2008  Search this
Extent:
2.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Slides (photographs)
Date:
1959-circa 1982
bulk 1959-1971
Summary:
The Dwan Gallery records measure 2.3 linear feet and consist primarily of files of exhibitions curated by Virginia Dwan at Dwan Galleries in Los Angeles (1959-1967) and New York (1965-1971). Found within this nearly comprehensive set of exhibition files may be lists of exhibited works, price lists, photographs, slides or color transparencies of installations, invitations, full-size posters, magazine and newspaper clippings and exhibition catalogs.
Scope and Contents:
The Dwan Gallery records measure 2.3 linear feet and consist primarily of files of exhibitions curated by Virginia Dwan at Dwan Galleries in Los Angeles (1959-1967) and New York (1965-1971). Found within this nearly comprehensive set of exhibition files may be lists of exhibited works, price lists, photographs, slides or color transparencies of installations, invitations, full-size posters, magazine and newspaper clippings and exhibition catalogs.

Artists that held exhibitions at the Dwan Gallery in New York and Los Angeles include: Robert Goodnough, Robert Richenburg, Larry Rivers, Philip Guston, Yves Klein, Salvatore Scarpitta, Arakawa, Martial Raysse, Ad Reinhardt, Arman, Franz Kline, Edward Kienholz, Claes Oldenburg, Niki de Sainte Phalle, Joan Mitchell, Robert Rauschenberg, Robert Morris, Dan Flavin, Raymond Parker, Kenneth Snelson, Carl Andre, Sol LeWitt, Robert Smithson, and Anastasi. Also, the exhibition files are nearly comprehensive and include: Language to be Looked at and/or Things to be Read annual series (1967-1970), Boxes (1964), Earth Works (1968), My Country 'tis of Thee (1962) and 10 (1967 and 1968). Many of the multiple artist shows were created and organized by gallery director John Weber and/or Virginia Dwan. Many of these exhibition files include full-sized posters and panoramic photos showing installations.

Also found are records created by a consulting firm hired by the Dwan Gallery to inventory the exhibition files prior to donation to the Archives of American Art. These guides appear at the beginning of each series and outline a chronology of exhibitions held at each branch.
Arrangement:
The collection is arranged into two series:

Series 1: Los Angeles Exhibition Files, 1959-1967, after 1981 (Box 1-2, 5, OV6, OV8; 1.3 linear feet)

Series 2: New York Exhibition Files, 1965-1971, after 1982 (Box 2-4, OV7; 1.0 linear feet)
Biographical / Historical:
In 1959, Virginia Dwan opened her first gallery on 1091 Broxton Avenue in the Westwood Village neighborhood of Los Angeles, California. Her independent wealth allowed her to open a gallery without worrying about business and sales. Three years after opening, the Dwan Gallery moved into a new Westwood Village space especially designed to express the gallery's contemporary aesthetic. In 1965, Virginia Dwan moved to New York City and founded an east coast branch of the Dwan Gallery at 29 West 57th Street.

Early exhibitions at the Dwan Gallery showed Abstract Expressionist artists and works of art from New York which Dwan consigned from other galleries. After traveling to New York and France, Virginia Dwan's interests and tastes manifested in exhibitions by 1961 with Yves Klein. Through Klein, Dwan made connections to other Nouveaux Réalistes artists that the gallery featured in solo and group shows. Later exhibitions featured Land and Minimilist artists. Dwan recognized that many of her shows were not considered salable but continued to show the avant-garde. She saw the gallery as an opportunity to expose the public to different styles of art.

Virginia Dwan maintained a close and personal relationship with many of her artists. She allowed large stipends to gallery artists and invited them to spend time at her home in Malibu, California. When working with artists concentrating on found objects, Dwan would accompany them on scavenger hunts and shopping trips. In the case of Robert Smithson and other Land Art artists, she traveled to offsite locations to visit works of art in progress. Dwan relied on her longtime gallery director, John Weber to interact with collectors as she preferred to maintain her connection with the artists.

The Dwan Gallery Los Angeles closed in mid-1967 but the New York branch remained open. By 1971, Virginia Dwan felt pressure to support her thirteen artists through a period of economic insecurity. She decided to close the gallery secretly and only informed her artists at the last minute. The final exhibition at Dwan Gallery New York closed in June of 1971.
Related Materials:
Also found within the Archives of American Art is an interview with Virginia Dwan conducted March 21 through June 1, 1984 by Charles Stuckey.
Separated Materials:
Dwan Gallery exhibition catalogs that were donated to the Archives in 1989 were transferred to the Smithsonian Institution American Art and National Portrait Gallery Library.

Bard College's Center for Curatorial Studies and Art in Contemporary Culture holds Dwan Gallery materials related to exhibitions in the Library and Archives.
Provenance:
The Dwan Gallery records were donated in 1996 by Virginia Dwan, the former owner of the gallery.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art -- New York (State) -- New York -- Exhibitions  Search this
Art -- California -- Los Angeles -- Exhibitions  Search this
Earthworks (Art)  Search this
Minimal art  Search this
Abstract expressionism  Search this
Artists -- United States  Search this
Function:
Art galleries, Commercial -- California -- Los Angeles
Art galleries, Commercial -- New York (State) -- New York
Genre/Form:
Photographs
Slides (photographs)
Citation:
Dwan Gallery records, 1959-circa 1982, bulk 1959-1971. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dwangall
See more items in:
Dwan Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-dwangall
Online Media:

Stendahl Art Galleries records

Creator:
Stendahl Art Galleries  Search this
Names:
Couvoisier Galleries  Search this
Demotte, inc. (New York, N.Y.)  Search this
Thomas Gilcrease Institute of American History and Art  Search this
Wildenstein and Company (New York, N.Y.)  Search this
Archipenko, Alexander, 1887-1964  Search this
Beltran-Masses, Federico, b. 1885  Search this
Calder, Alexander, 1898-1976  Search this
Cantú, Federico, 1908-1989  Search this
Charlot, Jean, 1898-1979  Search this
De Creeft, José, 1884-1982  Search this
Eddy, Jerome  Search this
Feshin, Nikolaĭ Ivanovich, 1881-1955  Search this
Gelhaar, Emil  Search this
Genth, Lillian Mathilde, 1876-1953  Search this
Gilbert, Arthur Hill, 1894-1970  Search this
Guthrie, George B.  Search this
Hansen, Armin C. (Armin-Carl), 1886-1957  Search this
Kandinsky, Wassily, 1866-1944  Search this
Kent, Rockwell, 1882-1971  Search this
Kleitsch, Joseph, 1885-1931  Search this
Knight, Aston, 1873-1948  Search this
Kronberg, Louis, 1872-1965  Search this
Laurence, Sydney, 1868-1940  Search this
Loeffler, Gisella, 1900-  Search this
Montenegro, Roberto, 1887-1968  Search this
Mérida, Carlos, 1891-1984  Search this
Noguchi, Isamu, 1904-1988  Search this
Orozco, José Clemente, 1883-1949  Search this
Pach, Walter, 1883-1958  Search this
Payne, Edgar A. (Edgar Alwin), 1882-1947  Search this
Pearson, Ralph M., 1883-1958  Search this
Picasso, Pablo, 1881-1973  Search this
Ritschel, William, 1864-1949  Search this
Rivera, Diego, 1886-1957  Search this
Rose, Ethel Boardman, 1871-1946  Search this
Rose, Guy, 1867-1925  Search this
Schofield, Walter Elmer, 1867-1944  Search this
Siqueiros, David Alfaro  Search this
Stendahl, Earl L.  Search this
Szecsi, Ladislas  Search this
Wendt, William, 1865-1946  Search this
Zuloaga, Ignacio, 1870-1945  Search this
Extent:
7.5 Linear feet
Type:
Collection descriptions
Archival materials
Gallery records
Scrapbooks
Date:
1907-1971
Summary:
The records of the Los Angeles Stendahl Art Galleries measure 7.5 linear feet and date from 1907 to 1971. The collection is comprised of administrative and financial files, correspondence, exhibition files, and subject files on numerous artists, organizations, and other art-related topics. There is one scrapbook of clippings on the artist Edgar Payne.
Scope and Contents:
The records of the Los Angeles Stendahl Art Galleries measure 7.5 linear feet and date from 1907 to 1971. The collection is comprised of administrative and financial files, correspondence, exhibition files, and subject files on numerous artists, organizations, and other art-related topics. There is one scrapbook of clippings on the artist Edgar Payne.

Administrative and financial files concern advertising, publicity, consignments, inventory, purchases, sales, leases, and biographical information on Earl Stendahl.

The bulk of the correspondence is pre-World War II and is fairly extensive. It is with artists, organizations, collectors, art historians,and galleries. Signicant correspondents include Alexander Archipenko, Federico Beltran-Masses, Alexander Calder, Federico Cantú, Jean Charlot, Couvoisier Galleries, José de Creeft, Demotte Inc., Jerome Eddy, Lillian Genthe, Arthur Hill Gilbert, George B. Guthrie, Rockwell Kent, Louis Kronberg, Gisella Loeffler, Carlos Mérida, Isamu Noguchi, Walter Pach, Diego Rivera, Waler Elmer Schofield, David Alfaro Siquieros, Ladislas Szecsi, Wildenstein & Company, and many others.

Files are found for about ten exhibitions, including Etching and Engravings by the Old Masters (1921), Airview Paintings (1930), American Landscape Art (1930), Arts of New Guinea (1964), and for exhibitions of Emil Gelhaar, Wassily Kandinsky, Sydney Laurence, and Roberto Montenegro.

Subject files are found for numerous artists, art topics, galleries, and foundations. Most of the files consist of printed materials, but there is correspondence and additional primary source material found in files for Nicolai Ivanovich Feshin, the Thomas Gilcrease Foundation, Armin Hansen, Joseph Kleitsch, Aston Knight, José Clemente Orozco, Edgar Payne, Ralph M. Pearson, Pablo Picasso, William Ritschel, Diego Rivera, Ethel B. Rose, Guy Rose, Walter Elmer Schofield, David Alfaro Siquieros, Ladislas Szecsi, William Wendt, and Ignacio Zuloaga.
Arrangement:
The collection is arranged as 4 series.

Series 1: Administrative and Financial Files, 1923-1957 (0.4 linear feet; Box 1)

Series 2: Correspondence, 1923-1968 (2.0 linear feet; Box 1-3)

Series 3: Exhibition Files, circa 1921-1967 (0.4 linear feet; Box 3)

Series 4: Subject Files, 1907-1971 (4.6 linear feet; Box 3-8, OV 9)
Biographical / Historical:
Earl Stendahl established Stendahl Art Galleries in 1911 in Los Angeles, California.

Earl Stendahl (1887-1966) came to Southern California from a small town in Wisconsin. He began showing young Los Angeles artists at his downtown restaurant, The Black Cat Café. He opened his gallery in The Ambassador Hotel on Wilshire Boulevard and organized shows focusing primarily on California Impressionists of the early twentieth century, including Edgar Payne, Guy Rose, William Wendt, Nicolai Fechin, and Joseph Kleitsch.

Stendahl Art Galleries also began to sell European and Latin American modern art. In 1939, Stendahl hosted one of only two non-museum exhibitions of Pablo Picasso's masterwork, Guernica, to benefit Spanish War orphans.

As early as 1935 Stendahl began promoting ancient artifacts from Mexico and Central America. Stendahl's first client for pre-Columbian art and artifacts was noted collector Walter Arensberg. Stendahl and the Arensburgs became friends and Stendahl helped the Arensburgs build one of the most significant collections in the U.S.

The galleries are currently owned by Ronald W. Dammann, Stendahl's grandson.
Provenance:
The Stendahl Art Galleries records were donated by Alfred Stendahl in 1976. An album of clippings was donated by Stendahl in 1995 via Nancy Moure.
Restrictions:
Use of original papers requires an appointment and is limited to the 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:
Art -- New Guinea  Search this
Hispanic American art  Search this
Landscape painting  Search this
Prints  Search this
Art, American  Search this
Art galleries, Commercial -- California -- Los Angeles  Search this
Art, Modern -- 20th century -- California -- Los Angeles  Search this
Genre/Form:
Gallery records
Scrapbooks
Citation:
Stendahl Art Galleries Records, 1907-1971. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stenartg
See more items in:
Stendahl Art Galleries records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-stenartg
Online Media:

Oral history interview with Allan Sekula

Interviewee:
Sekula, Allan  Search this
Interviewer:
Panzer, Mary  Search this
Names:
Artforum  Search this
California Institute of the Arts  Search this
Ohio State University -- Faculty  Search this
Rhode Island School of Design  Search this
Students for a Democratic Society (U.S.)  Search this
University of California, San Diego. Department of Anthropology  Search this
Altoon, John, 1925-  Search this
Antin, David  Search this
Antin, Eleanor  Search this
Ascott, Roy  Search this
Baldessari, John, 1931-  Search this
Barthes, Roland  Search this
Becker, Howard  Search this
Bercovitch, Sacvan  Search this
Beveridge, Karl  Search this
Brach, Paul, 1924-  Search this
Braderman, Joan  Search this
Burch, Noël, 1932-  Search this
Burn, Ian, 1939-1993  Search this
Captain Beefheart  Search this
Charlesworth, Sarah, 1947-2013  Search this
Chayefsky, Paddy, 1923-1981  Search this
Conde, Carol  Search this
Connell, Brian  Search this
Diddley, Bo, 1928-2008  Search this
Evans, Walker, 1903-1975  Search this
Farber, Manny  Search this
Feldman, Ronald, 1938-  Search this
Folks, Homer, 1867-1963  Search this
Fox, Terry, 1943-  Search this
Fried, Howard, 1946-  Search this
Ginsberg, Allen, 1926-1997  Search this
Graham, Dan, 1942-  Search this
Graves, Michael, 1934-2015  Search this
Halleck, DeeDee  Search this
Hanhardt, John G.  Search this
Hassan, Ihab, 1925-2015  Search this
Hayes, Woody, 1913-1987  Search this
Heinecken, Robert, 1931-  Search this
Higgins, Dick, 1938-1998  Search this
Hine, Lewis Wickes, 1874-1940  Search this
Kienholz, Edward, 1927-  Search this
Kirschenbaum, Baruch David, 1931-  Search this
Knowles, Alison, 1933-  Search this
Kosuth, Joseph.  Search this
Kozloff, Max  Search this
Kramer, Hilton  Search this
Krauss, Rosalind E.  Search this
König, Kasper  Search this
Liebling, Jerome  Search this
Lifson, Ben  Search this
Little Richard, 1932-  Search this
Lonidier, Fred  Search this
Lord, Catherine, 1949-  Search this
Lunn, Harry, 1933-1998  Search this
Mac Low, Jackson  Search this
Mandel, Mike  Search this
Matta, 1912-2002  Search this
Mayer, Grace M.  Search this
Michelson, Annette  Search this
O'Doherty, Brian  Search this
Pommer, Richard  Search this
Ramsden, Mel  Search this
Raskin, Jef  Search this
Reagan, Ronald  Search this
Rosler, Martha  Search this
Ross, David A., 1949-  Search this
Ruby, Jay  Search this
Ruscha, Edward  Search this
Salle, David, 1952-  Search this
Salvesen, Britt  Search this
Schimmel, Paul  Search this
Segalove, Ilene, 1950-  Search this
Stein, Sally  Search this
Steinmetz, Philip  Search this
Sultan, Larry  Search this
Van Riper, Peter  Search this
Wakoski, Diane  Search this
Wall, Jeff, 1946-  Search this
Extent:
12 Items (Sound recording: 12 sound files (6 hr.,14 min.), digital, wav)
143 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2011 August 20-2012 February 14
Scope and Contents:
An interview with Allan Sekula conducted 2011 August 20-2012 February 14, by Mary Panzer, for the Archives of American Art at Sekula's studio and home in Los Angeles, California and at the Museum of Modern Art in New York, New York.
Sekula speaks of his career and some of the mediums he works in; language and contemporary art; Roland Barthes; his relation to contemporary art; west coast conceptualism; genre switches; realism; documentary photography; Belgium and the industrial revolution; Meunier; minor figures; art history and marginalism; Roberto Matta; World War I; Homer Folks; Fish Story; historic cinema; economic factors of art shows and publication; galleries and the art world; growing up and his family; his father and moving; Ohio; his brothers and sisters; San Pedro; demographics of students at school; sports at school; Vietnam; protests; cross country and swimming; California; fishing; college; U.C. system; declaring a major; John Altoon; Ed Kienholz; exposure to art; visiting museums; Marcuse's classes; Baldessari's classes; course work and student life; student demonstrations; working in a library and exposure to books; father losing his job; science and working as a chemical technician; politics; his uncle committing suicide; moving away from his father; the draft; John Birch; Students for a Democratic Society; his mother; politics of his parents; Aerospace Folk Tales, autodidacts and scholarship; San Diego and Mexico; obtaining a camera and starting to use it; art school; CalArts; UCSD; Meditations on a Triptych; David Salle; Fred Lonidier; Phel Steinmetz; MFA and art training; poets; story of Allen Ginsberg and one of Sekula's sculptures; production and the audience; A Photograph is Worth a Thousand Questions, photography and the burden of tradition; pictorialism; moving to New York; Artforum; October; New York music scene; Captain Beefheart; Bo Diddley; Little Richard; Steichen and aerial photography; origins of October; New Criterion; Art Critic's Grant; teaching at Ohio State; television; technological historians; New York subway and getting a ticket for using French money; RISD lectures; Long Beach; photography; collages; Metro Pictures; New Topographics; School as a Factory; moral choice and the viewer; work method and the audience; Social Criticism and Art Practice; east and west coasts; Ed Ruscha; documentary; film, Los Angeles; cinema and social history; Ohio State Department of Photography and Cinema; Los Angeles Plays Itself; Committee in Solidarity with the People of El Salvador; Ohio State campus, anti-Semitism; Ronald Reagan and protest; influences and colleagues; intellectual genealogy; Michael Graves and Ohio State architecture; Bad Ohio; tenure; University Exposed; AIDS issue of October; The Body and the Archive; making film; Korean War; collectors and images. Sekula also recalls Eleanor Antin, Jeff Wall, Terry Fox, Lewis Hine, Walker Evans, Paul Saltman, Marcuse, Baldessari, Sacvan Bercovitch, Stanley Miller, Jef Raskin, Paul Brach, David Antin, Howard Fried, Peter Van Riper, Alison Knowles, Dick Higgins, Manny Farber, Ihab Hassan, Diane Wakoski, Jackson Mac Low, Martha Rosler, Lenny Neufeld, Joshua Neufeld, David Wing, Brian Connell, Max Kozloff, Ian Burn, Mel Ramsden, Carole Conde, Karl Beveridge, Barry Rosens, Tom Crow, John Copeland, Harry Lunn, Hilton Kramer, Grace Mayer, Carol Duncan, Eva Cockroft, Richard Pommer, Rosalind Krauss, Sally Stein, Paddy Chayefsky, John Hanhardt, Mel Ramsden, Sarah Charlesworth, Jospeh Kosuth, Baruch Kirschenbaum, Robert Heinecken, Brian O'Doherty, Howard Becker, Jay Ruby, Jerry Liebling, Anna Wilkie, Ronald Feldman, John Gibson, David Ross, Britt Salvesen, Larry Sultan, Mike Mandel, Roy Ascott, Ilene Segalove, Paul Schimmel, DeeDee Halleck, Noel Burch, Joan Braderman, Woody Hayes, Thom Andersen, John Quigley, Ron Green, Kasper Koenig, Dan Graham, Jonathan Green, Christa Wolf, Catherine Lord, Ben Lifson, and Annette Michelson.
Biographical / Historical:
Allan Sekula (1951-2013) was a photographer, filmmaker, and writer, based at the California Institute of the Arts in Valencia, California. Mary Panzer (1955- ) is a historian from New York, New York.
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.
Occupation:
Sculptors  Search this
Topic:
Activism  Search this
Antisemitism  Search this
Architecture  Search this
Art -- Exhibitions -- Economic aspects  Search this
Art -- History  Search this
Art, Modern -- 20th century  Search this
Art -- Study and teaching  Search this
Conceptual art  Search this
Documentary photography  Search this
Korean War, 1950-1953  Search this
Music -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York -- Interviews  Search this
Photography  Search this
Realism  Search this
World War, 1914-1918  Search this
Function:
Art galleries, Commercial
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.sekula11
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sekula11

Los Angeles Museum of Art / Roger Wong Gallery records

Creator:
Los Angeles Museum of Art  Search this
Names:
Los Angeles Museum of Art  Search this
Roger Wong Gallery (Los Angeles, Calif.)  Search this
Bozzi, Julie  Search this
Burden, Chris, 1946-  Search this
Gale, Bill  Search this
Lightbody, Joyce, 1954-  Search this
Neher, Marilyn  Search this
Patterson, Pat  Search this
Stoecks, Volker  Search this
Van Kirkhoven, Annie Mie  Search this
Wong, Roger  Search this
Wood, Gary  Search this
Extent:
4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1966-1988
Summary:
The Los Angeles Museum of Art / Roger Wong Gallery records measure 4 linear feet and date from 1966 to 1988. Owned by Roger Wong, the gallery was located in Los Angeles, California and primarily exhibited avant-garde art. Biographical materials, correspondence, artists' files, administration records, financial and legal records, printed materials, and photographs document the gallery's operations.
Scope and Contents:
The Los Angeles Museum of Art / Roger Wong Gallery records measure 4 linear feet and date from 1966 to 1988. Owned by Roger Wong, the gallery was located in Los Angeles, California and primarily exhibited avant-garde art. Biographical materials, correspondence, artists' files, administration records, financial and legal records, printed materials, and photographs document the gallery's operations.

Biographical materials include a few miscellaneous documents such as a passport and estate papers.

Correspondence is with family, gallery owners, art collectors, friends, and artists such as Chris Burden, Pat Patterson, and Gary Wood regarding personal and professional matters.

Administration records consist of mailing lists, membership information, publicity materials, and assorted forms.

Artists' files include resumes, correspondence, photographs, price lists, announcements, and other material. Notable artists are Julie Bozzi, Bill Gale, Joyce Lightbody, Marilyn Neher, Volker Stoecks, Annie-Mie Van Kerkhoven, and others.

Financial and legal records consist of agreements and contracts with artists as well as documents related to the business of running the gallery such as leases, invoices, expenses, receipts, and utility bills.

Printed materials include reviews and clippings about the gallery and some miscellaneous newsletters and articles.

Photographs is a small series with images of Roger Wong, the entrance of the gallery, an unidentified art performance, and other subjects.
Arrangement:
The collection is arranged as 7 series.

Series 1: Biographical Materials, 1966-1985 (0.1 linear feet; Box 1)

Series 2: Correspondence, 1969-1988 (0.6 linear feet; Box 1)

Series 3: Administrative Records, 1975-1982 (0.2 linear feet; Box 1)

Series 4: Artists' Files, 1974-1982 (1.1 linear feet; Boxes 1-2)

Series 5: Financial and Legal Records, 1973-1986 (1.7 linear feet; Boxes 3-4)

Series 6: Printed Materials, 1977-1988 (0.2 linear feet; Box 4)

Series 7: Photographs, 1974-1984 (0.1 linear feet; Box 4)
Biographical / Historical:
The Los Angles Museum of Art / Roger Wong Gallery specialized in avant-garde art and operated from the mid-1970s to the early 1980s.

Roger Wong (1945-1994) opened his eponymous gallery at 3808 Beverly Boulevard in Los Angeles, California around 1974. The Roger Wong Gallery often featured local artists and art installations. The gallery name was changed to the Los Angeles Museum of Art around 1978 and closed in 1982-1983.
Provenance:
The Los Angeles Museum of Art / Roger Wong Gallery records were donated in 1994 by John Chase, an art collector who was the recipient of all Roger Wong's art work.
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.
Topic:
Art galleries, Commercial -- Economic aspects  Search this
Art galleries, Commercial -- California -- Los Angeles  Search this
Arts -- Experimental methods  Search this
Avant-garde (Aesthetics)  Search this
Genre/Form:
Photographs
Citation:
Los Angeles Museum of Art / Roger Wong Gallery records, 1966-1988. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rogewong
See more items in:
Los Angeles Museum of Art / Roger Wong Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rogewong

Rosamund Felsen gallery records

Creator:
Rosamund Felsen Gallery  Search this
Names:
Acerol, Ali  Search this
Ackerman, Robert E.  Search this
Andrews, Oliver  Search this
Beach, Alicia  Search this
Bengston, Billy Al  Search this
Boskovich, John  Search this
Brown, Greg  Search this
Burden, Chris, 1946-  Search this
Burkhart, Dan  Search this
Bush, Stephen, 1958-  Search this
Cointet, Guy de, 1934-1983  Search this
Cooper, Ron, 1943-  Search this
Craft, Ann Thorny  Search this
Cranston, Meg  Search this
Dill, Guy, 1946-  Search this
Dowell, Roy  Search this
Gambrill, Jeff  Search this
Hayward, James, 1943-  Search this
Jackson, Richard M.  Search this
James, Mac  Search this
Jiménez, Cisco, 1969-  Search this
Kabakov, Ilʹia︠ ︡Iosifovich, 1933-  Search this
Kaino, Glenn (Glenn Akira), 1972-  Search this
Kelley, Mike, 1954-2012  Search this
Kidon, Heidi  Search this
Knechtel, Tom, 1952-  Search this
Lodato, Peter  Search this
McCarthy, Paul  Search this
Miller, John  Search this
Newkirk, Kori, 1970-  Search this
Nordman, Maria  Search this
Oshiro, Kaz, 1967-  Search this
Owens, Laura  Search this
Pettibon, Raymond, 1957-  Search this
Pittman, Lari, 1952-  Search this
Rauschenberg, Robert, 1925-2008  Search this
Rice, Leland, 1940-  Search this
Rogers, Steve  Search this
Rothenberg, Erika  Search this
Ruppersberg, Allen, 1944-  Search this
Shaw, Jim, 1952-  Search this
Sklar, Keith  Search this
Smith, Alexis, 1949-  Search this
Sonnier, Keith, 1941-2020  Search this
Syrop, Mitchell, 1953-  Search this
Vallance, Jeffrey  Search this
Weber, Marnie  Search this
Wegman, William  Search this
Extent:
35.1 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1978-2014
Scope and Contents:
Artists' files including biographical information, slides, reviews; exhibition files; a scrapbook (unbound); slides and photographs of works of art and exhibition installations; works of art; printed material including posters; and financial material regarding the Rosamund Felsen Gallery.
Among the artists are Alicia Beach, Meg Cranston, Richard Jackson, Kaz Oshiro, John Boskovich, Jeff Gambill, Robert Rauschenberg, William Wegman, Ann Thorny Craft, Raymond Pettibon, Jeffrey Vallance, Mitchell Syrop, Mac James, Stephen Bush, Ali Acerol, Marnie Weber, Keith Sklar, Leland Rice, Steve Rogers, Greg Brown, Robert Ackerman, Dan Burkhart, Oliver Andrews, Ron Cooper, Guy Dill, James Hayward, Billy Al Bengston, Erika Rothenberg, Peter Lodato, Keith Sonnier, Tom Knechtel, Paul McCarthy, Jim Shaw, Maria Nordman, Kori Newkirk, Laura Owens, Al Ruppersberg, Ilya Kabakov, Alexis Smith, Roy Dowell, Lari Pittman, Guy de Cointet, Cisco Jiménez, Glenn Kaino, John Miller, Chris Burden, Mike Kelley, Heidi Kidon and others.
Biographical / Historical:
The Rosamund Felsen Gallery (established 1978) is an art gallery in Santa Monica, California that focuses on the art community in Los Angeles, California.
Provenance:
Donated 2014- 2016 by the Rosamund Felsen Gallery via Rosamund Felsen, gallery founder and owner.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Function:
Art galleries, Commercial -- California -- Santa Monica
Genre/Form:
Scrapbooks
Identifier:
AAA.rosafelg
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rosafelg

Ankrum Gallery records

Creator:
Ankrum Gallery  Search this
Names:
Art Dealers Association of America  Search this
Black Arts Council (Washington, D.C.)  Search this
California Arts Council  Search this
Hirshhorn Museum and Sculpture Garden  Search this
Krannert Art Museum  Search this
Laguna Art Museum (Laguna Beach, Calif.)  Search this
Paramount Pictures  Search this
San Diego Museum of Art  Search this
Staempfli Gallery (New York, N.Y.)  Search this
Storm King Art Center  Search this
Almaraz, Carlos  Search this
Andrews, Benny, 1930-2006  Search this
Ankrum, Joan  Search this
Bauer, Richard, 1944-  Search this
Block, Irving  Search this
Broderson, Morris, 1928-2011  Search this
Caryl, Naomi  Search this
Casey, Bernie  Search this
Duveneck, Frank, 1848-1919  Search this
Feitelson, Lorser, 1898-1978  Search this
Groth, Bruno  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Herschler, David  Search this
Hirsch, Joseph, 1910-1981  Search this
Hirshhorn, Olga  Search this
Homer, Jessie  Search this
Jackson, Suzanne, 1944-  Search this
Johnson, Buffie  Search this
Lundeberg, Helen, 1908-1999  Search this
Mesches, Arnold, 1923-  Search this
Miller, Henry, 1891-  Search this
Palm Springs Desert Museum  Search this
Schuler, Melvin  Search this
Secunda, Arthur  Search this
Shores, Kenneth, 1928-  Search this
Varda, Jean  Search this
Zev  Search this
Extent:
41.5 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Date:
circa 1900-circa 1990s
bulk 1960-1990
Summary:
The Ankrum Gallery records measure 41.5 linear feet and date from circa 1900 to circa 1990s, with the bulk of the records dating from 1960 to 1990. The papers include over 395 artists files, general gallery correspondence, project files, administrative records, exhibition files, collector and client files, financial material, printed material, 1 unbound scrapbook, and photographs. Also included are personal papers of gallery founder Joan Ankrum and her nephew, artist Morris Broderson.
Scope and Contents:
The Ankrum Gallery records measure 41.5 linear feet and date from circa 1900 to circa 1990s, with the bulk of the records dating from 1960 to 1990. The papers include over 395 artists files, general gallery correspondence, project files, administrative records, exhibition files, collector and client files, financial material, printed material, 1 unbound scrapbook, and photographs. Also included are personal papers of gallery founder Joan Ankrum and her nephew, artist Morris Broderson.

General correspondence is with artists, museums, collectors, and clients, and generally concerns sales, exhibitions, and consignments. Correspondents include Irving Block, Morris Broderson, Naomi Caryl, Suzanne Jackson, Joseph and Olga Hirshhorn, among many others. Correspondence is also found in the artists files and the collector/client files.

Project files document various events, benefits, and projects undertaken by the gallery, including a UNICEF benefit, "Up Against Hunger," the Exceptional Children's foundation, and the Young Art Patrons.

Administrative files document many activities of the gallery, such as the gallery's and Joan Ankrum's membership in the Black Arts Council, the California Arts Council, and the Art Dealers Association of California of which Joan Ankrum was a primary organizer. Also found are publicity files, a file on the history of the gallery, leases, floor plans, insurance documents, lists of graphics for sale, and other miscellany.

Exhbition files appear to be incomplete, but do include files for Huichol Indian's art, "The Art of African Peoples" (1973), "Five Contemporary Mexican Painters" (1977), Ethiopian Folk Painting (1978), San Diego Museum of Art Artists Guild All Media Exhibition (1982), "25th Anniversary Exhibition" (1985), among several others.

Extensive artists' files include correspondence, price lists, photographs and slides,resumes and biographical material, and sales invoices. Files are found for Benny Andrews, Carlos Almaraz, Richard Bauer, Irving Block, Naomi Caryl, Bernie Casey, Frank Duveneck, Lorser Feitelson, Bruno Groth, David Herschler, Jessie Homer, Suzanne Jackson, Buffie Johnson, Samella Lewis, Helen Lundeberg, Arnold Mesches, Henry Miller, Melvin Schuler, Arthur Secunda, Ken Shores, Jean Varda, and Zev, among many others. The Pat Alexander and Andy Nelson files also contain motion picture film.

Collector and client files document the gallery's relationship with over 115 collectors, museums, and art centers. Files may include correspondence and sales records and are found for Edith Halpert, Olga and Joseph Hirshhorn and the Hirshhorn Museum and Sculpture Garden, the Krannert Art Museum, Laguna Art Museum, Palm Spring Desert Museum, Paramount Pictures, San Diego Museum of Art, Staempfli Gallery, and Storm King Art Center, among many others.

Financial material documents sales through numbered invoices, consignments, loans, and insurance valuations. Printed material consists of exhibition catalogs and announcements, bulletins, periodicals, and newspaper clippings. One unbound scrapbook contains clippings and exhibition materials.

Photographs are of artwork, artists, and gallery openings. Additional photographs are found in the artists' files.

Joan Wheeler Ankrum personal papers document her personal and professional relationship with family, artists, and collectors. They include correspondence, personal writings, personal financial materials, printed material and loose scrapbook materials, family photographs and photographs of her as an actress, and artwork from various artists.

The papers of artist Morris Broderson, nephew of Joan Ankrum, document his professional relationship with the gallery as his primary dealer. Included are biographical materials, correspondence, publicity files, travel files, projects, exhibitions, collector/client files, financial material, printed material, photographs, and artwork.
Arrangement:
This collection is arranged as 12 series.

Series 1: Correspondence, 1961-1994 (0.5 linear feet; Box 1)

Series 2: Project Files, 1965-1987 (0.25 linear feet; Box 1)

Series 3: Administrative Records, 1961- circa 1990s (1 linear foot; Boxes 1-2)

Series 4: Exhibition Files, 1961-1991 (1 linear foot; Boxes 2-3)

Series 5: Artists' Files, 1957-1994 (22.5 linear feet; Boxes 3-25, 41-42, FC 43-45)

Series 6: Collector and Client Files, 1960-1994 (3.2 linear feet; Boxes 25-28)

Series 7: Financial Material, 1962-1990 (1.5 linear feet; Boxes 28-30)

Series 8: Printed Material, 1957-1994 (2 linear feet; Boxes 30-32, 41)

Series 9: Scrapbook, 1960-1988 (3 folders; Box 32)

Series 10: Photographs, circa 1960s-circa 1990s (0.35 linear feet; Boxes 32, 42)

Series 11: Joan Ankrum Personal Papers, circa 1900-1993 (2 linear feet; Boxes 32-34, 41)

Series 12: Morris Broderson Papers, 1941-1989 (7.2 linear feet; Boxes 34-42)
Biographical / Historical:
The Ankrum Gallery was established 1960 in Los Angeles by American film actress Joan Wheeler Ankrum and William Chalee. The gallery closed in 1989.

Joan Wheeler Ankrum and William Challee opened Ankrum Gallery on La Cienega Boulevard in Los Angeles in 1960 with a one-man show of Ankrum's nephew Morris Broderson. With a focus on contemporary California artists, Ankrum Gallery represented over 395 artists during its 30 years in operation, including Benny Andrews, Carlos Almaraz, Richard Bauer, Irving Block, Naomi Caryl, Bernie Casey, Frank Duveneck, Lorser Feitelson, Bruno Groth, David Herschler, Jessie Homer, Suzanne Jackson, Buffie Johnson, Samella Lewis, Helen Lundeberg, Arnold Mesches, Henry Miller, Melvin Schuler, Arthur Secunda, Ken Shores, Jean Varda, and Zev. In addition, the gallery was among the earliest to exhibit the work of black artists. The gallery also held exhibitions of world artists, which included "Art of African Peoples" (1973), "Yarn Paintings of the Huichol Indians" (1973), "Five Contemporary Mexican Painters" (1977), and "Ethiopian Folk Painting" (1978). Ankrum Gallery closed in 1989.

Art dealer and gallery owner, Joan Wheeler Ankrum was an actress before establishing the Ankrum Gallery primarily to showcase the work of her deaf nephew, Morris Broderson. Born in 1913 in Palo Alto, California, she began acting at the Pasadena Playhouse where she met her first husband Morris Ankrum with whom she had two sons, David and Cary Ankrum. She married gallery co-owner and partner William Challee in 1984. She helped organize the Los Angeles Art Dealers Association and the Monday Night Art Walks on La Cienega Boulevard. She was a member of the relatively short-lived Black Arts Council. Joan Wheeler Ankrum died in 2001 at the age of 88.

Morris Broderson (1928-2011) was a deaf painter. His first one-man show was at the Stanford Museum in 1957, followed by the Santa Barbara Museum of Art. By 1959 he'd won two awards from the Los Angeles County Museum, and appeared in the Whitney Museum's "Young America" show in 1960. His travels influenced his work, including the hand gestures of Kabuki art in Japan. His work is in the collections of the Whitney Museum of American Art and the Hirshhorn Museum and Sculpture Garden, among others. Following Joan Ankrum's death in 2001, Broderson was represented by her son David Ankrum.
Related Materials:
Also found in the Archives of American Art are two oral history interviews with Joan Ankrum, one conducted by Betty Hoag, April 28, 1964, and a second by Paul Karlstrom, November 5, 1997-February 4, 1998. Additionally, there is an oral history interview with Morris Broderson conducted by Paul Karlstrom, March 11-13, 1998.
Provenance:
The Ankrum Gallery records were donated to the Archives of American Art by Joan Ankrum in 1995.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art galleries, Commercial -- California -- Los Angeles  Search this
Artists -- California -- Los Angeles  Search this
Genre/Form:
Scrapbooks
Photographs
Citation:
Ankrum Gallery records, circa 1900-circa 1990s, bulk 1960-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ankrgall
See more items in:
Ankrum Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ankrgall
Online Media:

Oral history interview with Herbert Palmer

Interviewee:
Palmer, Herbert Bearl, 1915-2006  Search this
Interviewer:
Ehrlich, Susan, 1942-  Search this
Names:
Ankrum Gallery  Search this
David Stuart Galleries  Search this
Feigen Palmer Gallery  Search this
Felix Landau Gallery  Search this
Irving Blum Gallery (Los Angeles, Calif.)  Search this
New York University -- Students  Search this
Ankrum, Joan  Search this
Bloch, Lucienne, 1909-1999  Search this
Bluhm, Norman, 1921-1999  Search this
Callahan, Harry M.  Search this
Cézanne, Paul, 1839-1906  Search this
Feigen, Richard L., 1930-  Search this
Garabedian, Charles  Search this
Grooms, Red  Search this
Gustavus Vasa  Search this
Maillol, Aristide, 1861-1944  Search this
Mullican, Lee, 1919-1998  Search this
Offner, Richard, 1889-1965  Search this
Onslow-Ford, Gordon  Search this
Paalen, Wolfgang, 1907-  Search this
Reiss, Henrietta  Search this
Reiss, Winold, 1886-1953  Search this
Riley, Bridget, 1931-  Search this
Shapiro, Meyer  Search this
Stevenson, Harold, 1929-2018  Search this
Tudor, David, 1926-1996  Search this
Wölfflin, Heinrich, 1864-1945  Search this
Extent:
56 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2004 Dec. 6-22
Scope and Contents:
An interview of Herbert Palmer conducted 2004 Dec. 6 and 22, by Susan Ehrlich, for the Archives of American Art, in West Hollywood, Calif.
Palmer discusses his family background and childhood in New York City; early exposure to art exhibitions; music appreciation; attending New York University; taking classes with Winhold Reiss, Meyer Shapiro, Richard Offner, and Heinrich Wolfflin; his master's thesis on Paul Cezanne's paintings of Mount Saint Victoire; moving to California; learning to fly; meeting Lillian, his wife; founding Feigen-Palmer Gallery with Richard Feigen; other galleries in the area, including Irving Blum, David Stuart, Felix Landau, Charles Garabedian, and Joan Ankrum; Monday Night Art Walks; John Cage and David Tudor performance pieces; the many artists he's exhibited; Andy Warhol's "The Kiss"; 1968 split with Richard Feigen to become the Herbert Palmer Gallery; the theft of a Picasso sculpture in Dec. 1981 and the ensuing legal case, which involved numerous galleries and collectors; his longstanding friendships with Gordon Onslow Ford, Lee Mullican, and Wolfgang Paalen; membership to the Art Dealers Association of California; and his enjoyment of discovering art, old and new. Palmer also recalls Henriette Riess, Harold Stevenson, Lucienne Bloch, Bridget Riley, Vasa Mihich, Maillol, Red Grooms, Norman Bluhm, and others.
Biographical / Historical:
Herbert Palmer (1915-2006) owned the Herbert Palmer Gallery of West Hollywood, Calif. Interviewer Susan Ehrlich is an art historian from Beverly Hills, Calif.
General:
Originally recorded on 4 mini discs. Reformatted in 2010 as 15 digital wav files. Duration is 3 hr., 35 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:
Use requires an appointment.
Topic:
Art dealers -- California -- Interviews  Search this
Art thefts  Search this
Gallery owners -- California -- Interviews  Search this
Function:
Art galleries, Commercial -- California
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.palmer04
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-palmer04

Nicholas Wilder Gallery records

Creator:
Nicholas Wilder Gallery  Search this
Names:
James Corcoran Gallery  Search this
Altoon, John, 1925-  Search this
Avedisian, Edward, 1936-2007  Search this
Bengston, Billy Al  Search this
Davis, Ron, 1937-  Search this
Francis, Sam, 1923-  Search this
Frankenthaler, Helen, 1928-2011  Search this
Goode, Joe, 1937-  Search this
Graham, Robert, 1938-  Search this
Hockney, David  Search this
Hofmann, Hans, 1880-1966  Search this
Holland, Tom, 1936-  Search this
Martin, Agnes, 1912-2004  Search this
McCracken, John, 1934-2011  Search this
Moses, Ed, 1926-  Search this
Nauman, Bruce, 1941-  Search this
Noland, Kenneth, 1924-  Search this
Olitski, Jules, 1922-  Search this
Price, Kenneth, 1935-2012  Search this
Twombly, Cy, 1928-  Search this
Wilder, Nicholas  Search this
Yokomi, Richard  Search this
Extent:
2.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1944-1984
bulk 1968-1979
Summary:
The records of the Nicholas Wilder Gallery of Los Angeles measure 2.4 linear feet and date from 1944 through 1984, with the bulk of materials dating from 1968-1979. Scattered documentation of the contemporary art gallery's fourteen years of operation include artists' inventory cards, photographic transparencies, letters and correspondence, invitations, notes, business and financial documents, and printed materials.
Scope and Content Note:
The records of the Nicholas Wilder Gallery of Los Angeles measure 2.4 linear feet and date from 1944 through 1984, with the bulk of materials dating from 1968 to 1979. Scattered documentation of the contemporary art gallery's fourteen years of operation include artists' inventory cards (the bulk of the collection), photographic transparencies, letters and correspondence, invitations, notes, business and financial documents, and printed materials.

The majority of records date from the period after the gallery moved to La Cienega Boulevard to Santa Monica Boulevard in Los Angeles, California. Very few records pertaining to specific exhibitions or openings are included in this collection. However, there is one exhibition catalog and scattered gallery invitations which were used as scrap paper. Other materials include business records that contain financial materials and notes. Printed Materials contain popular newspapers and magazines that reflect Wilder's interests, invitations to other galleries, auction catalogs, and business cards. Correspondence includes scattered gallery correspondence, Wilder's personal correspondence and documents, and holiday cards.

The bulk of the collection consists of artist files which include inventory cards and transparencies of works of art. Information on the inventory cards and transparencies may specify: date of creation, date of accession, potential collectors, purchase records, and titles. Notable artists include: Joe Goode, Tom Holland, Robert Graham, Billy Al Bengston, Cy Twombly, Ken Price, Ed Moses, Ron Davis, John McCracken, Kenneth Noland, Helen Frankenthaler, Jules Olitski, Agnes Martin, Edward Avedisian, John Altoon, Richard Yokomi, Sam Francis, Bruce Nauman, Hans Hofmann, and David Hockney. The majority of inventory cards reflect business at the gallery in the mid-late 1970s.

Financial records originating from the James Corcoran Gallery are included in this collection. The relationship between the two establishments is unclear although it seems that the James Corcoran Gallery moved into the space previously occupied by the Nicholas Wilder Gallery.
Arrangement:
The collection is arranged into four series:

Series 1: Business Records, 1968-1978, 1980-1984, circa 1970s (Box 1; 5 folders)

Series 2: Correspondence, 1974-1981, circa 1970s (Box 1; 4 folders)

Series 3: Printed Material, 1976-1980, circa 1970s (Box 1; 9 folders)

Series 4: Artist Files, 1944-1984, circa 1960s-1970s (Box 1-3; 2 linear feet)
Historical Note:
In April 1965, Nicholas Wilder (1937-1989) founded his contemporary art gallery at 814 North La Cienega Boulevard in Los Angeles, California. His interest in art started at Amherst College where he worked for the art department as a slide technician. While in graduate school at Stanford University, he worked at the Lanyon Gallery in Palo Alto, California. An initial offer of financial backing to open a gallery inspired a move to Los Angeles. Although that offer fell through, Wilder remained determined. In late 1964, Wilder sold shares of his future gallery to friends in order to secure funds. He bought the shares back shortly after opening.

The Nicholas Wilder Gallery's first show featured Edward Avedisian. The gallery expanded and featured artists from New York and California, including: Joe Goode, John McCracken, Kenneth Noland, Helen Frankenthaler, Jules Olitski, Cy Twombly, Ed Moses, Ken Price, Agnes Martin, John Altoon, Sam Francis, Billy Al Bengston, and Hans Hofmann. The gallery helped start the careers of American artists such as Robert Graham, Tom Holland, Ron Davis, and Bruce Nauman. In 1970, the gallery moved to 8225 ½ Santa Monica Boulevard. Through its fourteen years of operation, the gallery held a new show every month. Wilder's openings represented a large source of pride and he ensured that every opening reception included a stocked bar for his clients.

Initially, the gallery succeeded through Wilder's talents and passion for art. At its peak, the Nicholas Wilder Gallery sold two million dollars worth of art per year. However, in the mid-1970s a change in attitude within the art world affected sales. According to Wilder, many artists no longer painted for expression but as a viable business venture. Furthermore, he claimed that buyers would not risk collecting works from a younger or less well-known artist. In addition to these factors, Wilder attributed the decline of his gallery to his extravagance and lack of business sensibilities. Eventually, the gallery faced financial problems and Wilder recognized the need to leave the business.

The Nicholas Wilder Gallery closed on December 31, 1979. Wilder informed his employees that he would close a year in advance and ensured that all of his artists found a new gallery for representation. He moved to New York after leaving his gallery and became an artist. Nicholas Wilder passed away in 1989 from AIDS-related causes.
Related Material:
Also found in the Archives of American Art is an oral history interview with Nicholas Wilder conducted by Ruth Bowman on July 18, 1988.

Nicholas Wilder Gallery records, 1927-1980, are also located at the Getty Research Institute.
Provenance:
The Nicholas Wilder Gallery records were donated to the Archives of American Art in 1998 by Matthew Curtis Klebaum, a friend of Wilder's and a former employee of the James Corcoran Gallery.
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 galleries, Commercial -- California -- Los Angeles  Search this
Art dealers -- California -- Los Angeles  Search this
Artists -- California -- Los Angeles  Search this
Citation:
Nicholas Wilder Gallery records, 1944-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nichwild
See more items in:
Nicholas Wilder Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-nichwild
Online Media:

Lucien and Marcelle Labaudt papers

Creator:
Labaudt, Lucien, 1880-1943  Search this
Labaudt, Marcelle, 1892-1987  Search this
Names:
California School of Design  Search this
Federal Art Project (Calif.)  Search this
Lucien Labaudt Art Gallery  Search this
San Francisco Women Artists  Search this
Arnautoff, Victor Mikhail, 1896-1979  Search this
Biberman, Edward, 1904-1986  Search this
Feitelson, Lorser, 1898-1978  Search this
Ferier, André  Search this
Ford, Worthington C.  Search this
Gerstle, Wilhelm, 1879-1963  Search this
Kent, Adaline Dutton, 1900-1957  Search this
Kuhn, Walt, 1877-1949  Search this
London, Charmian  Search this
Léger, Fernand, 1881-1955  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Matisse, Henri, 1869-1954  Search this
Moya del Pino, Jose, 1891-1969  Search this
Oldfield, Otis, 1890-1969  Search this
Ozenfant, Amédée, 1886-1966  Search this
Ozenfant, Marthe  Search this
Pflueger, Timothy Ludwig, 1892-1946  Search this
Rivera, Diego, 1886-1957  Search this
Rowan, Edward Beatty, 1898-1946  Search this
Sotomayor, Antonio, 1904-  Search this
Extent:
8.5 Linear feet ((partially microfilmed on 11 reels))
Type:
Collection descriptions
Archival materials
Date:
1896-1987
Scope and Contents:
Correspondence, photographs, exhibition materials, scrapbooks, journals, printed matter, essays, gallery records and other business records, and miscellaneous papers.
REELS 3799-3806: A resume; a travel journal; an address book; appointment books; passports for Marcelle Labaudt; correspondence, including 3 illustrated Christmas cards from Walt Kuhn and letters from Edward Rowan about Lucien Labaudt's murals for the Los Angeles post office for the Section of Fine Arts; notes on costume design, geometry, and metric color scales; writings by Lucien Labaudt, including "Color Constructions--Opticolormetry", 1940; 4 sketchbooks and 70 sketches by Labaudt; prints and drawings by others; scrapbook on history of costume design; announcements; programs; reproductions; printed material concerning Labaudt's California School of Design; records of the San Francisco Women Artists organization; minutes of the Artists' Council kept by Marcelle Labaudt; artist files; guest registers; ledgers 1929 and 1939-1949, and financial records, 1943-1980, for the Lucien Labaudt Art Gallery; clippings; photographs of Labaudt's family, 1911-1981; of works of art, 1913-1968; and stage and costume design.
REEL 1052: Correspondence relating to the Lucien Labaudt Art Gallery and to Lucien and Marcelle; photographs (many undated and unidentified) of a gallery opening, 1950 of Max Hages, two paintings by Fred Martin, and two by R. Kaess; manuscript material; biographical material on artists who exhibited at the gallery; catalogs and announcements; printed material; and clippings.
REEL 1854: Photographs, 1920-1940 of: Labaudt; Labauadt working on Beach Chalet Murals; at the Bohemian Club Grove with C. Ford, Arnautoff, Otis Oldfield, Moya del Pino, Sotomayer, Timothy Pflueger, William Gerstle, and Diego Rivera; with Adeline Kent; with Marcelle and André Ferier; costumes and sets designed by Labaudt; and paintings and murals by Labaudt. Also included are 173 personal and business letters, 1923-1975; sketches; manuscripts, including essays about Labaudt by Stanton Macdonald-Wright and Lorser Feitelson; a scrapbook; business records; catalogs and announcements; clippings and other printed matter. Correspondents include: Edward Biberman, Lorser Feitelson, Walt Kuhn, Fernand Leger, Charmain London (Mrs. Jack), Henri Matisse, Marthe and Amedee Ozenfant, Timothy L. Pflueger and Edward Rowan.
UNMICROFILMED: Biographical material regarding Marcelle Labaudt's education; correspondence, 1901-1979, with friends and associates, including Alvyne Maisonneuve, Yliane Remy, Henry and Ann Varnum Poor, Charmian London, Millard Sheets and Richard Diebenkorn (1 letter, 1950); Marcelle Labaudt's travel diary kept on a trip to France, undated; art works, undated, including a sketchbook and illustrated letter by Lucien and an unsigned print; exhibition catalogs and clippings regarding the Lucien Labaudt Art Gallery; photographs, slides and negatives, 1896-1976, of friends, family and art works, and an album of photographs of Lucien's works of art.
Biographical / Historical:
Lucien Labaudt was a painter, muralist, costume and set designer. He also ran a commercial art school called the California School of Design. After his death in 1943, on assignment as a war artist correspondent, his wife, Marcelle Labaudt, established the Lucien Labaudt Art Gallery in San Francisco, California. She specialized in giving younger or relatively unknown artists their first exhibitions and operated the gallery until 1980.
Provenance:
Donated by Marcelle Labaudt 1974-1976, and after her death by her estate through her step-sister and executor, Simone M. Berges, 1984. After Berges' death in 1988, an additional installment was received via Berges' sister-in-law, Jill Alexander.
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:
Costume designers  Search this
Painters  Search this
Topic:
Federal aid to the arts -- California -- San Francisco -- Exhibitions  Search this
Art and state -- California -- San Francisco -- Exhibitions  Search this
Mural painting and decoration -- 20th century -- California -- San Francisco  Search this
Costume -- California -- San Francisco  Search this
Muralists  Search this
Function:
Art galleries, Commercial -- California -- San Francisco
Identifier:
AAA.labaluci
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-labaluci

California Art Club guest register and scrapbooks

Creator:
California Art Club  Search this
Names:
Alvarez, Mabel, 1891-1985  Search this
Anderson, Antony  Search this
Barnsdall, Aline, 1882-1946  Search this
Borg, Carl Oscar, 1879-1947  Search this
Cook, Alma Mae  Search this
Deutsch, Boris, 1892 or 5-1978  Search this
Kosa, Emil Jean, 1903-1968  Search this
Miller, Evelyna Nunn  Search this
Millier, Arthur, 1893-  Search this
Modra, Theodore B., 1873-1930  Search this
Reiffel, Charles P., 1862-1942  Search this
Sheets, Millard, 1907-1989  Search this
St. Maur, Elaine  Search this
Vysekal, Edouard A., 1890-1939  Search this
Extent:
1.5 Linear feet
Type:
Collection descriptions
Archival materials
Cartoons (humorous images)
Drawings
Scrapbooks
Sketches
Date:
1916-1961
Summary:
The California Art Club guest register and scrapbooks measure 1.5 linear feet and date from 1916 to 1961. Included are guest registers spanning 1927 to 1931; a Year Book 1916 of the California Art Club containing images of member artwork and essays; and eleven scrapbooks with clippings, exhibition materials, club bulletins, and place settings.
Scope and Contents:
The California Art Club guest register and scrapbooks measure 1.5 linear feet and date from 1916 to 1961. Included are guest registers spanning 1927 to 1931; a Year Book 1916 of the California Art Club containing images of member artwork and essays; and eleven scrapbooks with clippings, exhibition materials, club bulletins, and place settings.

The scrapbooks contain local Los Angeles area newspaper clippings and magazine articles on social events, elections, art forums, club bulletins, and club activities in Los Angeles. Also included is art criticism by critics such as Arthur Millier, Alma May Cook, and Elaine St. Maur, as well as artist obituaries; exhibition announcements and invitations; press releases; and cartoons, sketches, and drawings. These scrapbooks record the events around the club and the Los Angeles art scene, as well as the people and artists involved including Aline Barnsdall, Antony Anderson, Evelyna Nunn Miller, Charles Reiffel, Edouard Vysekal, Theodore B. Modra, Boris Deutsch, Millard Sheets, Mabel Alvarez, Carl Oscar Borg, and Emil J. Kosa.
Arrangement:
Due to the small size of this collection, the materials are arranged as one series.

Series 1: California Art Club Guest Register and Scrapbooks, 1916-1961 (Boxes 1-5; 1.5 linear feet)
Biographical / Historical:
The largest and most influential Los Angeles art organization during the early 20th century, the California Art Club was organized in 1909 from the Painters' Club. The group holds exhibitions, member talks, and other programs.
Provenance:
The California Art Club guest register and scrapbooks were donated to the Archives of American Art by Henry Ketting Olivier, a past president of the California Art Club, in 1981.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Occupation:
Art critics -- California -- Los Angeles  Search this
Topic:
Art -- California -- Los Angeles  Search this
Art -- Societies, etc. -- California -- Los Angeles  Search this
Art criticism -- California -- Los Angeles  Search this
Art galleries, Commercial -- California -- Los Angeles  Search this
Artists -- California -- Los Angeles  Search this
Visitors' books  Search this
Genre/Form:
Cartoons (humorous images)
Drawings
Scrapbooks
Sketches
Citation:
California Art Club guest register and scrapbooks, 1916-1961. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.caliart
See more items in:
California Art Club guest register and scrapbooks
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-caliart

Esther Robles Gallery records

Creator:
Esther-Robles Gallery  Search this
Names:
Robles, Esther  Search this
Extent:
24.8 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1947-1986
Scope and Contents:
Artist's files, including business correspondence, price lists and invoices, newspaper and magazine clippings, press releases, photographs and slides, exhibition announcements, and catalogs and brochures from artists represented by the Esther Robles Gallery.
Arrangement:
Files are arranged alphabetically.
Biographical / Historical:
Art gallery; Los Angeles, Calif. Est. 1947. Closed 1979.
Provenance:
Donated 2005 and 2009 by Robert Robles, husband and business partner of Esther Robles who died in 2001.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Function:
Art galleries, Commercial -- California -- Los Angeles
Identifier:
AAA.esthrobg
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-esthrobg

Oral history interview with Nicholas Wilder

Interviewee:
Wilder, Nicholas  Search this
Interviewer:
Bowman, Ruth, 1923-  Search this
Names:
Artforum  Search this
Lanyon Art Gallery  Search this
Nicholas Wilder Gallery  Search this
Extent:
104 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1988 July 18
Scope and Contents:
An interview of Nicholas Wilder conducted 1988 July 18, by Ruth Bowman, for the Archives of American Art.
Wilder discusses his education; working for the Lanyon Art Gallery near San Francisco; opening the Nicholas Wilder Gallery in Los Angeles in 1965 and operating it until it closed in 1979; the Los Angeles art scene in the 60s and how it has changed; Charlie Cowles and the founding of ARTFORUM magazine; and artists his gallery handled including Bruce Nauman, Joe Goode and Tom Holland.
Biographical / Historical:
Nicholas Wilder (1937 or 1938-1989) was an art dealer and painter in Los Angeles, California and New York, N.Y.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hrs., 36 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 administrators.
Topic:
Art -- Collectors and collecting -- California -- Los Angeles  Search this
Art dealers -- California -- Los Angeles -- Interviews  Search this
Function:
Art galleries, Commercial -- California -- Los Angeles
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.wilder88
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wilder88

Oral history interview with Esther Robles

Interviewee:
Robles, Esther  Search this
Interviewer:
Bowman, Ruth, 1923-  Search this
Names:
Macdonald-Wright, Stanton, 1890-1973  Search this
Extent:
125 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1981 August 24-31
Scope and Contents:
An interview of Esther Robles conducted 1981 August 24-31, by Ruth Bowman, for the Archives of American Art.
Robles speaks of her family background; early art training; opening her own gallery in the 1940s; exhibitions at the gallery and artists who exhibited; the art community in Los Angeles and some of the problems in being a dealer there; her dedication to showing a variety of artists; working on the U.S. Treasury Department's Art Advisory Panel; and the closing of her gallery. She recalls Stanton Macdonald-Wright. Also present is Robles' husband, Robert.
Biographical / Historical:
Ester Robles (1907-2001) was a gallery director from Los Angeles, Calif.
General:
Originally recorded on 7 sound cassettes. Reformatted in 2010 as 13 digital wav files. Duration is 6 hr., 13 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:
Use requires an appointment.
Topic:
Gallery directors -- California -- Los Angeles -- Interviews  Search this
Function:
Art galleries, Commercial -- California -- Los Angeles
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.robles81
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-robles81

Frank Perls papers and Frank Perls Gallery records

Creator:
Perls, Frank  Search this
Names:
Curt Valentin Gallery (New York, N.Y.)  Search this
M. Knoedler & Co.  Search this
Amato, Sam, 1924-  Search this
Brice, William, 1921-  Search this
Chuey, Robert  Search this
Lebrun, Rico, 1900-1964  Search this
Lipchitz, Jacques, 1891-1973  Search this
Matisse, Henri, 1869-1954  Search this
McGarrell, James, 1930-  Search this
Peake, Channing, 1910-  Search this
Perls, Klaus  Search this
Picasso, Pablo, 1881-1973  Search this
Ray, Man, 1890-1976  Search this
Strombotne, James  Search this
Warsaw, Howard  Search this
Extent:
23.8 Linear feet
Type:
Collection descriptions
Archival materials
Short stories
Scrapbooks
Photographs
Sales records
Gallery records
Date:
circa 1920-1983
bulk 1949-1975
Summary:
The Frank Perls papers and Frank Perls Gallery records measure 23.8 linear feet and date from 1920-1983, with the bulk dating from 1949-1975. Personal papers include writings, military records, appointment calendars, and photographs. Gallery records date from its opening in 1939 until its closure in 1981 and consist of financial, sales, and legal records; exhibition files; exhibition catalogs and announcements; subject files that contain a variety of correspondence with artists, dealers, galleries, museums, and friends and family, as well as reference materials and photographs; and scrapbooks.
Scope and Content Note:
The Frank Perls papers and Frank Perls Gallery records measure 23.8 linear feet and date from 1920-1983, with the bulk dating from 1949-1975. Personal papers include writings, military records, appointment calendars, and photographs. Gallery records date from its opening in 1939 until its closure in 1981 and consist of financial, sales, and legal records; exhibition files; exhibition catalogs and announcements; subject files that contain a variety of correspondence with artists, dealers, galleries, museums, and friends and family, as well as reference materials and photographs; and scrapbooks.

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

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

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

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

Finally, scrapbooks contain newspaper articles, catalogs, and announcements about exhibitions at the Perls Gallery in New York during the late 1930s and the Frank Perls Gallery in Los Angeles during the 1950s.
Arrangement:
The collection is arranged into 5 series:

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

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

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

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

Series 5. Scrapbooks, 1937-1957 (Box 28; 0.3 linear feet)
Historical Note:
Frank Perls (1910-1975) was founder and sole owner of the Frank Perls Gallery in Beverly Hills, California.

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

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

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

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

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

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

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

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

Frank Perls died on February 8, 1975 from complications following open-heart surgery. The Gallery remained open until 1981 while his executor and family distributed the gallery inventory.
Provenance:
The Frank Perls papers and Frank Perls Gallery records were donated by Joan Hazlitt, one of the executors of the Perls' estate, from 1976-1988.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art -- Economic aspects  Search this
Art -- Collectors and collecting -- California -- Beverly Hills  Search this
World War, 1939-1945  Search this
Curators -- California  Search this
Art -- Forgeries  Search this
Function:
Art galleries, Commercial -- California -- Beverly Hills
Genre/Form:
Short stories
Scrapbooks
Photographs
Sales records
Gallery records
Citation:
Frank Perls papers and Frank Perls Gallery records, circa 1920-1983, bulk 1949-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.perlfran
See more items in:
Frank Perls papers and Frank Perls Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-perlfran
Online Media:

Oral history interview with Jean Milant

Interviewee:
Milant, Jean, 1943-  Search this
Interviewer:
Drohojowska-Philp, Hunter  Search this
Names:
Cirrus Editions  Search this
Cirrus Gallery  Search this
Los Angeles Institute of Contemporary Art  Search this
Los Angeles Visual Arts (Organization)  Search this
Museum of Contemporary Art (Los Angeles, Calif.)  Search this
Tamarind Institute  Search this
University of New Mexico -- Student  Search this
University of Wisconsin  Search this
Antreasian, Garo Z., 1922-2018  Search this
Auder, Michel  Search this
Baldessari, John, 1931-  Search this
Blum, Irving, 1930-  Search this
Burden, Chris, 1946-  Search this
Card, Greg S., 1945-  Search this
Carson, Karen, 1943-  Search this
Cointet, Guy de, 1934-1983  Search this
Egelston, Robert  Search this
Francis, Sam, 1923-1994  Search this
Gehry, Frank O., 1929-  Search this
Goodman, Marian  Search this
Harrison, Newton, 1932-  Search this
Hill, Charles Christopher  Search this
Inch, Terry  Search this
Irwin, Robert, 1928-  Search this
Kanemitsu, Matsumi  Search this
Kauffman, Craig, 1932-2010  Search this
Leiber, Steven  Search this
Marron, Donald B.  Search this
Mizuno, Riko  Search this
Moses, Ed, 1926-  Search this
Nauman, Bruce, 1941-  Search this
Overby, Robert, 1935-1993  Search this
Price, Kenneth, 1935-2012  Search this
Rivière, Alain, 1958-  Search this
Rosen, Gerry  Search this
Ruscha, Edward  Search this
Sturman, Eugene  Search this
Trowbridge, David, 1945-  Search this
Tyler, Kenneth E.  Search this
Viva, 1938-  Search this
Wayne, June, 1918-2011  Search this
Wood, Jonas, 1977-  Search this
de Beauvau-Craon, Minnie  Search this
Extent:
4 Items (Sound recording: 4 sound files (3 hr., 7 min.), digital, wav)
102 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Place:
Europe -- description and travel
France -- description and travel
New York (N.Y.) -- Description and Travel
Date:
2015 July 20
Scope and Contents:
An interview of Jean Milant, conducted 2015 July 20, by Hunter Drohojowska-Philp, for the Archives of American Art at Milant's home in Los Angeles, California.
Jean Milant discusses growing up in Milwaukee, Wisconsin and his French and German heritage; his introduction to art instruction in high school and further studies at the University of Wisconsin; his trips to Europe and New York City as an undergraduate art student; his time as a graduate student at the University of New Mexico, and his work at the Tamarind Institute printmaking program and his introduction to Los Angeles; his work at Tamarind with Ed Ruscha, Sam Francis, Ed Moses, and Ken Price, among others; the beginnings of Cirrus Gallery and Cirrus Editions and his search for backers for the two endeavors; his partnership with Terry Inch as a backer for Cirrus. Mr. Milant also describes the decision to move his gallery and printmaking shop to downtown Los Angeles in 1979; the support of Robert Egelston and the collector Donald Marron and other collectors who first subscribed to his print editions; his experiences in France with Minnie de Beauvau-Craon; the gallery and museum scene in Los Angeles in the early '70s and '80s; his efforts to promote Los Angeles as a vibrant center of art, including trips to Europe in the early '70s to show his artists; the creation of Ed Ruscha's prints using food; working with Bruce Nauman and John Baldessari to create prints; the creation of the Los Angeles Visual Arts group of L.A. art dealers; his involvement with the creation of the Los Angeles Institute of Contemporary Art in 1974; his work with the artist Guy de Cointet and Mr. Cointet's early performances at Cirrus Gallery; the opening of MOCA in 1984; his desire to create a think-tank institute to help create a viable future for art. Mr. Milant also recalls Garo Antreasian, Newton Harrison, June Wayne, Frank Gehry, Robert Irwin, Eugene Sturman, Matsumi Kanemitsu, Ken Tyler, Riko Mizuno, Irving Blum, Gerry Rosen, Robert Overby, David Trowbridge as well as Chris Burden, Greg Card, Karen Carson, Craig Kauffman, Marian Goodman, Alain Rivière, Charles Christopher Hill, Steven Leiber, Viva, Michel Auder, and Jonas Wood, among others.
Biographical / Historical:
Jean Robert Milant (1943- ) is an art dealer and publisher in Los Angeles, California. Hunter Drohojowska-Philp is an art critic and writer from Beverly Hills, California.
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.
Topic:
Art -- Study and teaching  Search this
Art dealers -- California -- Los Angeles -- Interviews  Search this
Prints -- Technique  Search this
Publishers -- California -- Los Angeles -- Interviews  Search this
Function:
Art galleries, Commercial -- California -- Los Angeles
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.milant15
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-milant15

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; 1 linear feet)

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

Series 4: Events files, 1971-1990, undated (Box 9; 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 11-13; 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 galleries, Commercial -- Washington (State) -- Seattle  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
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

Oral history interview with Rosamund Felsen

Interviewee:
Felsen, Rosamund, 1934-  Search this
Interviewer:
Ayres, Anne, 1936-  Search this
Extent:
5 Sound discs (Sound recording, master (5 hrs.), digital, 2 5/8 in.)
104 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound discs
Pages
Sound recordings
Interviews
Date:
2004 Oct. 10-11
Scope and Contents:
An interview of Rosamund Felsen conducted 2004 October 10-11, by Anne Ayres, for the Archives of American Art, in Los Angeles, Calif.
Felsen discusses developing her gallery's stable of artists; forming a creative consciousness while working at Gemini GEL and being involved in high school theater; being unable to start a career because of the demand of raising four children; the influences of her older siblings; her marriages to Vern Hinderer and Sidney Felsen; engaging in the nascent 1960s Los Angeles art world; the founding of Gemini GEL with her husband, Sidney, and Stanley and Elyse Grinstein; her involvement with "political" artists like Jeffrey Vallance; working in the now defunct Pasadena Art Museum; that museum's downfall; starting a gallery with Timothea Stewart; her thoughts on other Los Angeles galleries of the 1970s; the influence of the Beatnik movement on L.A. art; the financial difficulties of exhibiting conceptual art; and the importance of art schools in forming a regional art scene. Felsen also mentions her ambivalent opinions of Feminist art; the exodus of a major portion of her gallery's artists; the importance of lawyers aiding artists; the characteristics of retrospective exhibitions on the Los Angeles art world; the differences between high art and design; her relationships with various collectors; socializing in the L.A. art world; the definitions of the terms "art world" and "taste"; the public's restricted access, because of admission prices and tastes, to contemporary art; how she splits funds after selling an artwork; the problems of dealing with artist's estates; the importance of her relationships with museum curators; and how she still retains enthusiasm for her work. Felsen also recalls Patrick Hogan, Lari Pittman, Michael Kelley, Man Ray, Tom Hanks, Jeffrey Vallance, Thomas Kincade, Laura Owens, Meg Cranston, Keith Sklar, Ralph Rugoff, Tim Ebner, Virginia Dwan, George Wanlass, and others.
Biographical / Historical:
Rosamund Felsen (1934- ) is a gallery owner in Los Angeles, Calif. Anne Ayres (1936- ) is a curator from Los Angeles, Calif.
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:
Transcript available on the Archives of American Art website.
Topic:
Art -- Economic aspects  Search this
Art -- Political aspects  Search this
Art -- Collectors and collecting -- California -- Los Angeles  Search this
Function:
Art galleries, Commercial -- California -- Los Angeles
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.felsen04
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-felsen04

Dorothy Goldeen Gallery records

Creator:
Dorothy Goldeen Gallery (Santa Monica, Calif.)  Search this
Names:
Abakanowicz, Magdalena  Search this
Altoon, John, 1925-  Search this
Ben Tré, Howard, 1949-  Search this
Benton, Fletcher, 1931-  Search this
Bergman, Ciel, 1938-  Search this
Carnwath, Squeak, 1947-  Search this
Chihuly, Dale, 1941-  Search this
Cho, Tŏk-hyŏn, 1957-  Search this
De Forest, Roy, 1930-2007  Search this
Fasnacht, Heide, 1951-  Search this
Hudson, Robert, 1938-  Search this
La Noue, Terence  Search this
Lipski, Donald, 1947-  Search this
Paik, Nam June, 1932-2006  Search this
Paschke, Ed  Search this
Rath, Alan, 1959-  Search this
Raymond, Zizi, 1960-  Search this
Reinoso, Pablo, 1955-  Search this
Extent:
16.2 Linear feet
2.52 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Interviews
Sound recordings
Video recordings
Date:
1960-circa 2014
bulk 1987-1996
Summary:
The records of Dorothy Goldeen Gallery, based in Southern California, measure 16.2 linear feet and 2.52 GB and date from 1960 to circa 2014, with the bulk of the items dating from 1987 to 1996. The Dorothy Goldeen Gallery, operated from 1986-1996 and featured the work of prominent contemporary artists, such as Magdalena Abakanowicz, John Altoon, Fletcher Benton, Howard Ben Tre, Ciel Bergman, Squeak Carnwatch, Dale Chihuly, Duck-Hyun Cho, Roy De Forest, Heidi Fasnacht, Robert Hudson, Terence La Noue, Donald Lipski, Nam June Paik, Ed Paschke, Alan Rath, Zizi Raymond, Pablo Reinoso, among many others. The collection includes correspondence, scattered administration records, exhibition files, extensive artists' files that also include many video recordings, financial and legal records, printed and digital materials, and photographic materials.
Scope and Contents:
The records of Dorothy Goldeen Gallery, based in Southern California, measure 16.2 linear feet and 2.52 GB and date from 1960 to circa 2014, with the bulk of the items dating from 1987 to 1996. The Dorothy Goldeen Gallery, operated from 1986-1996 and featured the work of prominent contemporary artists, such as Magdalena Abakanowicz, John Altoon, Fletcher Benton, Howard Ben Tre, Ciel Bergman, Squeak Carnwatch, Dale Chihuly, Duck-Hyun Cho, Roy De Forest, Heidi Fasnacht, Robert Hudson, Terence La Noue, Donald Lipski, Nam June Paik, Ed Paschke, Alan Rath, Zizi Raymond, Pablo Reinoso, among many others. The collection includes correspondence, scattered administration records, exhibition files, extensive artists' files that also include many video recordings, financial and legal records, printed and digital materials, and photographic materials.

Correspondence is with artists, museums, galleries, and collectors regarding exhibitions, sales, and acquisitions of artwork. Administration records include appraisals, mailing lists, materials related to gallery events, a rolodex, and a list of artist contracts. Exhibition files are found for only a few of the gallery's exhibitions, including American Artists in Jewelry (1987), Private Reserve (1988), Fresh Visions 1 (1989), Fresh Visions 2 (1989), and Multiple Parts (1994).

There are extensive artists' files containing correspondence, printed and digital material, resumes, slides, and photographs documenting the gallery's relationship with and exhibitions of many prominent artists. These files also contain numerous audio and video recordings of interviews with artists, exhibitions, documentaries, and video art.

Financial and legal records mostly consist of sales records of artwork by various artists, in addition to materials on a lawsuit, a sublease for exhibition space, and a few invoices.

Printed materials include Dorothy Goldeen Gallery press releases, exhibition announcements, press reviews, newsletters, clippings, and one videocassette of a broadcast news program.

Photographic materials mostly consist of slides and transparencies of artwork by artists represented by the gallery. There are a few images of the gallery building.
Arrangement:
This collection is arranged as 7 series.

Series 1: Correspondence, 1979-2012 (1.1 linear feet; Box 1-2)

Series 2: Administration Records, circa 1987-circa 2010 (0.6 linear feet; Box 2)

Series 3: Exhibition Files, 1987-1995 (0.4 linear feet; Boxes 2-3)

Series 4: Artists' Files, 1961-2007 (12.1 linear feet; Boxes 3-14, OV 17-18, 2.52 GB; ER01-ER02)

Series 5: Financial and Legal Records, 1987-2005 (0.8 linear feet; Box 15)

Series 6: Printed Material, 1986-2014 (0.4 linear feet; Boxes 15-16)

Series 7: Photographic Material, 1960-2005 (0.8 linear feet; Box 16)
Biographical / Historical:
The Dorothy Goldeen Gallery (1987-1996) was an art gallery in Santa Monica, California, founded by Dorothy Goldeen.

Dorothy Goldeen graduated from the University of California, Berkeley, where she studied sculpture and textile design. In 1973, Goldeen began her career in the arts working in San Francisco, California at the Hansen Fuller Gallery which later became Fuller Goldeen Gallery.

In 1987, Goldeen moved to Los Angeles and founded the Dorothy Goldeen Gallery. Historically significant artists such as Magdalena Abakanowicz and Nam June Paik were represented by her gallery as well as influential, emerging Los Angeles artists. Other notable artists include Robert Arneson, Paul Kos, Ed Paschke, and Alan Rath.

In 1996, Goldeen closed her gallery and launched the Dorothy Goldeen Art Advisory in Santa Monica. Goldeen often travels internationally as an art consultant for private and institutional clients, advising them on the acquisition and resale of art.
Related Materials:
The Archives of American Art also has an oral history interview with Dorothy Goldeen conducted by Hunter Drohojowska-Philp in 2014.
Provenance:
The Dorothy Goldeen Gallery records were donated by Dorothy Goldeen to the Archives of American Art in 2 installments in 2003 and 2014.
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 with no duplicate access copy requires advance notice.

Permission to publish, quote or reproduce all correspondence must be obtained from Dorothy Goldeen.
Rights:
All correspondence: Permission to publish, quote or reproduce requires written permission from Dorothy Goldeen. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art galleries, Commercial -- California -- Santa Monica  Search this
Jewelry  Search this
Function:
Art galleries, Commercial -- California -- Los Angeles
Genre/Form:
Photographs
Interviews
Sound recordings
Video recordings
Citation:
Dorothy Goldeen Gallery Records, 1960-circa 2014, bulk 1987-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dorogolg
See more items in:
Dorothy Goldeen Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-dorogolg
Online Media:

Art Space records

Creator:
Adelman, Lucy  Search this
Names:
18th Street Gallery  Search this
Constitutional Rights Foundation (1963-)  Search this
Texas Commerce Bank  Search this
Venice Art Walk  Search this
Venice Family Clinic (Venice, Los Angeles, Calif.)  Search this
Works Gallery  Search this
Chaffee, Marta  Search this
Colvill, Tracy  Search this
Gabrielson, Walter, 1935-  Search this
Hines, David  Search this
Lowry, Janice Ann, 1946-2009  Search this
Lubner, Lorraine  Search this
Lubner, Robert  Search this
Miura, Shigeo  Search this
Rush, Kent  Search this
Schairer, Mary  Search this
Starbuck, Marjorie, 1921-  Search this
Tomlinson, Robert  Search this
Walding, Clark  Search this
Extent:
13 Linear feet
Type:
Collection descriptions
Archival materials
Slides (photographs)
Photographs
Date:
1971-1992
Summary:
The records of Los Angeles Art Space gallery measure 13 linear feet and date from 1971 to 1992. The majority of the collection consists of the gallery's exhibition files which contain correspondence, clippings, exhibition catalogs and announcements, slides, photos, invoices, price lists, loan records, and other materials. There is also correspondence with artists and organizations, financial and administrative records, and slides of artwork and exhibitions.
Scope and Contents:
The records of Los Angeles Art Space gallery measure 13 linear feet and date from 1971 to 1992. The majority of the collection consists of the gallery's exhibition files which contain correspondence, clippings, exhibition catalogs and announcements, slides, photos, invoices, price lists, loan records, and other materials. There is also correspondence with artists and organizations, financial and administrative records, and slides of artwork and exhibitions.

Most of the correspondence in the collection is from artists regarding exhibition opportunities, with other galleries and organizations about sales and collaborative exhibits and event, including with the 18th Street Gallery, the Constitutional Rights Foundation, Texas Commerce Bank, Venice Family Clinic regarding the Venice Art Walk, and The Works Gallery.

About two-thirds of the collection consists of extensive exhibition records for individual and group shows held at Art Space. Contents of files vary but may include correspondence, exhibition announcements and programs, price lists, sales records, loan agreements and other legal forms, artist resumes and statements, photographs and slides of artwork and exhibition installations, and other printed material. Particularly rich files exist for artists Marta Chaffee, David Hines, Walter Gabrielson, Janice Lowry, Lorraine Lubner, Robert Lubner, Kent Rush, Mary Schairer, Marg Starbuck, Robert Tomlinson, and Clark Walding.

Scattered financial and administrative files document the gallery's business dealings, and include price lists, a cost sharing agreement form, an inventory, business correspondence, invoices, and financial statements. Additionally, a substantial number of slides in this collection include images of artwork and of exhibitions held at Art Space. Artists Shigeo Miura and Tracy Colvill have particularly sizeable slide files. Most of the artists with slides are also represented in the exhibition files.
Arrangement:
The collection is arranged as 4 series.

Series 1: Correspondence, circa 1977-1991 (Box 1; 0.8 linear feet)

Series 2: Exhibition Files, 1972-1992 (Boxes 1-11; 9.45 linear feet)

Series 3: Financial and Administrative Records, circa 1977-1991 (Box 11; 0.35 linear feet)

Series 4: Slides, 1971-1992 (Boxes 11-13; 2.4 linear feet)
Biographical / Historical:
The Art Space gallery operated in Los Angeles from 1977 to 1991 and was owned by artist, philanthropist, and activist Lucy Adelman (1909-2007). Settling in Los Angeles in 1938, Adelman was also one of the founders of the Womanspace Gallery, a cooperative gallery for feminist activities established in 1972 in Los Angeles.

Located at 10550 Santa Monica Boulevard, Art Space's first show honored the work of women artists. Specializing in contemporary art, the gallery, according to Adelman, had two purposes: "[Art Space] is for artists, creative people who communicate through many different fields of expression...It will also be a meeting place for people who wish to acquaint themselves with different concepts and directions." The gallery held 118 exhibitions before closing its doors in 1991.

Adelman and her husband, Isadore, were involved in other activities and gave generously to the American Civil Liberties Union and the Venice Family Clinic, which honored them at its annual fund-raising Art Walk Festival in 1988. Lucy Adelman died in 1997.
Provenance:
The records were donated in 1992 by Lucy Adelman, the director of Art Space.
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:
Artists -- California -- Los Angeles -- Exhibitions  Search this
Topic:
Art galleries, Commercial -- California -- Los Angeles  Search this
Art, Modern -- 20th century -- California -- Los Angeles  Search this
Genre/Form:
Slides (photographs)
Photographs
Citation:
Art Space records, 1971-1992. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.artspac
See more items in:
Art Space records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-artspac
Online Media:

Oral history interview with Tobey C. Moss

Interviewee:
Moss, Tobey C., 1928-  Search this
Interviewer:
Drohojowska-Philp, Hunter  Search this
Extent:
4 Items (sound files (2 hrs., 32 min.), digital, wav)
59 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2013 September 12
Scope and Contents:
An interview of Tobey C. Moss, conducted 2013 September 12, by Hunter Drohojowska-Philp, for the Archives of American Art at Moss' Gallery in Los Angeles, California.
Moss speaks of growing up in Chicago and moving to Los Angeles to attend UCLA; meeting and marrying her husband, Allen; serving as docent at the LA County Museum of Art; working for Zeitlin & Ver Brugge and then later Stephen White Gallery of Photography; opening her art gallery, Tobey C. Moss Gallery in 1979; her connection and relationships to many of the artists she displayed in her gallery.
Biographical / Historical:
Interviewee Tobey C. Moss (1928- ) is an art dealer in Los Angeles, California. Interviewer Hunter Drohojowska-Philp is an art critic and writer from Beverly Hills, California.
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.
Topic:
Gallery directors -- California -- Los Angeles -- Interviews  Search this
Function:
Art galleries, Commercial -- California -- Los Angeles
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.moss13
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-moss13

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