The Hooks-Epstein Galleries records measure 0.2 linear feet and date from 1937 to 1980. This small collection includes an exhibition list, 1970-1978, exhibition catalogs, a copy of the gallery policies, and a newspaper article about the business. Exhibition catalogs include shows for J. M. Sorg, Hib Sabin, Peter Paone, Sherry Sullivan, Lee Waisler, and more.
Scope and Contents:
The Hooks-Epstein Galleries records measure 0.2 linear feet and date from 1937 to 1980. This small collection includes an exhibition list, 1970-1978, gallery catalogs, a copy of the gallery policies, and a newspaper article about the business. Exhibition catalogs include shows for J. M. Sorg, Hib Sabin, Peter Paone, Sherry Sullivan, Lee Waisler, and more. Also present is a miscellaneous letter from 1937.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Hooks-Epstein Galleries, Inc. was founded in Houston, Texas, in 1969, by sister-in-laws Geri Hooks and Evan Epstein. Later, Geri Hooks' husband, Charles, joined the business in 1974 around the same time that Epstein left the gallery. Hooks-Epstein began with exhibitions of prints and antique objects, but quickly moved on to specialize in works on paper and ultimately included fine art glass as well. Past artists shown in the gallery include Robert Pruitt, Kermit Oliver, Ward Saunders, Mark Greenwalt, Clara Hoag, Edward Lane McCartney, Kingsley Powers Onyeiwu, Toots Zynsky, Alex Gabriel Bernstein, and Bertil Vallien. Hooks-Epstein Galleries is among the longest running art galleries in Texas.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming in 1981 by Geri and Charles Hooks as part of AAA's Texas Documentation Project. Reels 3127-3128 contain files and two scrapbooks from exhibitions for artists Peter Chinni, Peter Paone, Sherry Sullivan, Zolita Sverdlove, Lee Waisler and others. The microfilmed material consists of resumes, correspondence, price lists, catalogs, press releases, and newspaper clippings; photographs of exhibition installations are also included. Loaned materials were returned to the donor after microfilming and are not described in the collection container inventory.
Provenance:
The collection was donated in 1981 by Geri and Charles Hooks.
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.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Function:
Art galleries, Commercial -- Texas
Citation:
Hooks-Epstein Galleries records, 1937-1980. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The New Arts records measure 1.3 linear feet and date from 1950 to 1979. The collection sheds light on the gallery's operations through correspondence, exhibition files, printed material, artists' files, and more.
Scope and Contents:
The New Arts records measure 1.3 linear feet and date from 1950 to 1979. The collection sheds light on the gallery's operations through administrative records and artists' files. Administrative records include artwork authentification records, correspondence with museums, galleries, and private collectors, exhibition files, ephemera from exhibitions held elsewhere, and editions of the Contemporary Arts Council calendar. Artists' files consist of correspondence, price lists, photos of artwork and installations, exhibition ephemera, reviews, some resumes, and more. Artists covered include Forrest Bess, James Boynton, Lawrence Calcagno, Joseph Cornell, Max Ernst, Walter Kuhlman, Peter Plagens, Hassel Smith, Richard Steinberg, and Jean Varda.
Arrangement:
The collection is arranged as two series.
Series 1: Administrative Records, 1952-1970 (Box 1; .4 linear feet)
Series 2: Artists' Files, 1950-1979 (Box 1-2, OV 3; .9 linear feet)
Biographical / Historical:
The New Arts was founded in 1956 in Houston, Texas by Kathryn Swenson. The gallery was initially established to exhibit and sell pre-Columbian artwork, the bulk of which came from Andre Emmerich's private collection. Swenson asked friend and museum specialist Jermayne MacAgy to help with the exhibition display, and then sometime in the next two years, the gallery began to show established local artists. Pre-Columbian shows persisted throughout The New Arts' existence, but the gallery shifted its focus towards exhibiting a wide range of contemporary painters and sculptors by the late 1950s. Artists exhibited at The New Arts include Jack Boynton, Forest Bess, Hassel Smith, Max Ernst, Walter Kuhlman, Lawrence Calcagno, Joseph Cornell, Peter Plagens, and Jean Varda.
The New Arts closed in 1974.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Marc Moldawer, Kathryn Swenson, and Robert Wilson conducted by Sandra Curtis Levy, August 15, 1984.
Provenance:
The collection was donated in 1979 by gallery owner and director Kathryn Swenson.
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.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Function:
Art galleries, Commercial -- Texas
Citation:
The New Arts records, 1950-1979. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The records of the Valley House Gallery measure 0.6 linear feet and date from 1953 to 1979. The records document the history of the gallery through a biography on artist and gallery director Donald Vogel, a series of interviews with artist Clara Williamson on seven audio cassettes, exhibition catalogs and exhibition announcements.
Scope and Contents:
The records of the Valley House Gallery measure 0.6 linear feet and date from 1953 to 1979. The records document the history of the gallery through a biography on artist and gallery director Donald Vogel, a series of interviews with artist Clara Williamson on seven audio cassettes, exhibition catalogs and exhibition announcements.
Arrangement:
The collection is arranged into one series.
Series 1: Valley House Gallery Records, 1953-1979 (0.6 linear feet; Boxes 1-2)
Biographical / Historical:
Valley House Gallery was an art gallery in Dallas, Texas. The gallery was founded in 1951 by painter Donald S. Vogel, who was also the gallery director. The gallery was originally named the Betty McLean Gallery (1951-1954) and subsequently renamed the Valley House Gallery. The gallery exhibited 20th century European and American art.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 1685-1686) including biographical information on Texas artists; financial records; notes for an article on primitive painter Clara McDonald Williamson, and notes of an interview with her by Donald S. Vogel; exhibition catalogs and clippings on Vogel; and correspondence with Robert DeBolli, Edith Halpert, Curt Valentin, E. Yamanouchi, Al Meadows, Wildenstein & Co., M. Knoedler, and others. Loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
Material on reels 1685-1686 lent for microfilming by Donald S. Vogel, 1979. Material on reel 1799 donated by Vogel, 1979.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Function:
Art galleries, Commercial -- Texas
Genre/Form:
Interviews
Sound recordings
Citation:
Valley House Gallery records, 1953-1979. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The records of the New York Tibor de Nagy Gallery measure 43.9 linear feet and date from 1941-2016. The records document the activities of the gallery through business records and correspondence, exhibition files, artist files, financial and legal records, inventory records, and a small amount of records of the Houston Branch.
Scope and Contents:
The records of the New York Tibor de Nagy Gallery measure 43.9 linear feet and date from 1941-2016. The records document the activities of the gallery through business records and correspondence, exhibition files, artist files, financial and legal records, inventory records, a small amount of records of the Houston Branch, and exhibition announcements.
Business records include correspondence and administrative files. Business correspondence is with clients, curators, galleries, museums, colleges and universities, organizations, and publications, such as the Museum of Modern Art, Art Dealers Association, National Institute of Arts and Letters, United States Information Agency, The Hirshhorn Museum, Art News, Art in America, Pauli Hirsch, Jacqueline Kennedy, Charles Penney, Nelson Rockefeller, and many others. Correspondence concerns sales, purchases, shipping, loans, general exhibitions, publicity, events, publications and publishing, and other topics. Additional documents found within the correspondence files are purchase invoices, inquiries, shipping receipts, and photographs. Correspondence with artists is found in the Artist Files series. Administrative files concern day-to-day operations and include leases and construction documents, incorporation, insurance, art appraisals, art framing, and other general business affairs.
Exhibition files document many exhibitions held at the Gallery and include clippings and research materials, exhibition catalogs, exhibit and gallery plans, correspondence, and photographs, some in digital form. Some loan agreements and shipping receipts are also included.
Artist files document business affairs with individual artists and also contain collected information on artists. Typically, there are several files on each artist which may include printed materials, biographies, consignments, loans documentation, sales documentation, correspondence, photographic material, publicity, and reviews. Artists well represented among these files include Rosemarie Castoro, Ray Ciarrocchi, Robert Goodnough, Harold Gregor, Red Grooms (including a transcript of "A Conversation with Marison and Red Grooms"), Joyce Kozloff, Peter Reginato, Tony Robbin, Leatrice Rose, and Nancy Witteman-Widrig.
Financial records include incomplete runs of billing statements, expenses and cash disbursements, paid and unpaid invoices, and sales and shipping receipts. Inventory records consist primarily of index cards and/or sheets that document stock, consignments, loans, sales, and shipping.
A relatively small amount of Houston branch records include announcements, clippings, correspondence, financial information including consignments, income, invoices, and statements, photographs, publicity materials and a research file on Houston art museums.
Exhibition announcements promote the gallery's exhibitions for artists including Joe Brainard, Shirley Jaffe, Fairfield Porter, Rosemarie Castoro, Alfred Leslie, and many others.
Arrangement:
The Tibor de Nagy Gallery records are arranged into seven series.
Missing Title
Series 1: Business Records and Correpondence, 1950-1993 (10 linear feet; Boxes 1-10)
Series 2: Exhibition Files, 1941-1992 (2 linear feet; Boxes 11-12)
Series 3: Artist Files, 1956-1993 (18.6 linear feet; Boxes 13-31, 46)
Series 4: Financial and Legal Records, 1951-1984 (3.5 linear feet; Boxes 31-34)
Series 5: Inventory Records, 1952-1989 (9 linear feet; Boxes 34-43)
Series 6: Houston Branch Records, 1969-1984 (1.2 linear feet; Boxes 43-45)
Series 7: Exhibition Announcements, 1953-2016 (0.8 linear feet; Boxes 47-48)
Biographical / Historical:
One of the earliest modern art galleries in New York, Tibor de Nagy Gallery was founded in 1950 by Tibor de Nagy and John Bernard Myers. Initially the gallery featured the work of second generation Abstract Expressionists and continues to operate today with a focus on the Post War second generation New York School.
John B. Myers served as the gallery's first director and De Nagy was the business manager while continuing to work in the banking business. Early on, the gallery introduced and promoted second generation Abstract Expressionists such as Grace Hartigan and Alfred Leslie. The gallery quickly earned a reputation for promoting the work of emerging artists, including Carl Andre, Helen Frankenthaler, Jane Freilicher, Red Grooms, Fairfield Porter, and Larry Rivers, among others, giving many of them their first solo shows.
Later the gallery gained a reputation as a space for collaborative artistic ventures and organized exhibitions that combined visual imagery and poetry by several New York School poets. The gallery also published books by poets John Ashbery, Frank O'Hara, and James Schuyler, as well as a poetry newsletter entitled Semi-Colon.
In 1973 de Nagy teamed with Marvin Watson to open the Watson/deNagy Gallery in Houston, which closed in 1983. Tibor de Nagy retired from banking in 1970 and continued running the gallery until he died in 1993. The Tibor de Nagy gallery continues operating today at 724 Fifth Avenue under the direction of Andrew Arnot and Eric Brown. It also works with a number of estates, including those of Joe Brainard, Rudy Burckhardt, Donald Evans, and Jess.
Related Materials:
Among the holdings of the Archives of American Art are an oral history interview with Tibor de Nagy, March 29, 1976 conducted by Paul Cummings; the John Bernard Myers papers (which do not contain documentation of his work at the gallery); and the Watson/de Nagy Houston gallery records available only on microfilm, a small portion of which may also be duplicated in the original records described in this finding aid.
Provenance:
The records were donated by Tibor de Nagy Gallery in multiple accessions between 1993-1996 and in 2018. Additional material about the exhibition, Digital Explorations: Emerging Visions in art, 1988, donated in 2020 by one of the exhibition curators, Ligia Ercius-DiPaola.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. research facility. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The 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.
Missing Title
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.
Topic:
Art, Modern -- 20th century -- California -- Los Angeles Search this
Function:
Art galleries, Commercial -- California
Genre/Form:
Slides (photographs)
Photographs
Citation:
Art Space records, 1971-1992. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Collections Care and Preservation Fund.
Artists' files containing correspondence, price lists, exhibition announcements, publications and clippings; and general files containing photographs, sales receipts, correspondence with galleries, and miscellany.
Artists' files include Eric Anderson, Michael and Penny Arntz, Frank Barton, T. H. Benton, Helen Bickham, John Dawson, Heather P. Edwards, Louis Efstathiou, Edward S. Faiers, Barclay Ferguson, Don Foster, Frank and Eleanor Freed, Haskell E. Ivy, Mary F. Judge, Elizabeth Leitner, Paul McGaughy regarding Ben Woitena and others, Gregory Palmer, Alexander Proctor, Frank Ribelin, Reginald Rowe, Ben Shahn, Emma de Sigaldi, Norman Singer, Michael John Smith, Ary Stillman, Paul Suttman, Rufino Tamayo, A. M. van Fossen, John Walker,, Travis Whitfield, Ben Woitena, Charles Umlauf, and Judy Youens.
General files include Robinson Graphics: U. S. Olympic Editions 1976, Proposals, Publicity, Art layout, Robinson Gallery publications, Amarillo Art Center Association exhibition, "Genesis, the 1960s", Art in Public Places,Artists (general), Gallery Uno, May 1980 exhibition: Barnett, Elliott, and Patrick, Introductions, KLEF radio program advertisement file, Lithographic workshops, McAllen International Museum, Midtown Art Center, Houston, Perception Galleries, Taller de Graphica, Photographs, people, Kwaku, photograph file, Photography of art work, Resumes, William Rimmer 1816-1879,Peter Rose Gallery, Rosewood Hotels Inc., Wunderlich and Co. Gallery, Sabinal, Publishers of Fine Art, Gallery sales receipts, Miscellany, Advertising, Affidavits, and Instituto Allende/ James Pinto and group show.
Biographical / Historical:
Art gallery; Houston, Tex. Deals primarily in 19th and 20th century painting and sculpture.
Provenance:
Lent for microfilming 1983 by Thomas V. Robinson, founder, owner and director of the gallery.
Microfilmed as part of the Archives of American Art's Texas project.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
REELS 1835-1837: Artists' files containing correspondence, sales statements, price lists, exhibition catalogs and announcements, clippings, photos, and publicity material. Also included are 12 scrapbooks, 1959-1978, containing clippings, photos, guest lists, exhibition announcements, and invitations.
REEL 2057: A file on Peter Hurd, 1960-1967, containing correspondence between Electra Carlin and Hurd, and others; statements of Hurd's sales; consignment statements; and a receipt from Amon Carter Museum of Western Art.
Biographical / Historical:
Art gallery; Fort Worth, Tex. Originally named the gallery of Wonderful Things, 1957-1960.
Provenance:
Microfilmed as part of the Archives of American Art's Texas project.
Lent for microfilming 1980 by Electra Carlin.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Artists' files, 1950-1979, including press releases, biographical material, catalogs, invitations, announcements, correspondence, clippings, and photographs. Also included are catalogs from the James Bute Gallery, which became the DuBose Gallery.
Biographical / Historical:
Art gallery; Houston, Tex.
Provenance:
Lent for microfilming 1979-1980 by Stanley McDonald, owner of the gallery.
Microfilmed as part of the Archives of American Art's Texas project.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
REEL 3294: Two scrapbooks containing photographs of works of art, exhibition announcements and catalogs, and clippings about artists affiliated with the gallery.
REEL 3298: Letters to Graham from Robert Dash, Marilyn Fischbach, and others; and photographs, including pictures of Graham and some of the artists affiliated with the Graham Gallery; and photographs of works of art.
Biographical / Historical:
The Graham Gallery (est. 1981- closed 1992) was an art gallery in Houston, Texas owned by William A. Graham (1939-1992).
Related Materials:
The Graham Gallery/ William A. Graham Archives located at the Museum of Fine Arts, Houston Archives.
Provenance:
Lent for microfilming 1984 by William A. Graham, owner and founder of the Graham Gallery.
Microfilmed as part of the Archives of American Art's Texas project.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Reel 3298: ACCESS RESTRICTED: written permission required.
Business correspondence; and files on artists, containing biographical material, correspondence, photographs, sketches, price lists, exhibition catalogs, and clippings. Information on Lamar Briggs, Fritz Scholder, Donald Roller Wilson, Joe Atteberry, Lucas Johnson, Arthur Turner, and others is included.
Biographical / Historical:
Art gallery; Houston, Texas Owned by Elizabeth C. Moody. Shows mainly Houston area artists.
Provenance:
Lent for microfilming 1979 by Elizabeth C. Moody.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Fifteen photographs of the Fifth Avenue Gallery taken by Clarence John Laughlin; and exhibition announcements.
Biographical / Historical:
Art gallery; Fort Worth, Texas. Founded in 1960 by Pauline Evans and Bror Utter, it was the first Fort Worth gallery to represent primarily local artists. The gallery closed in 1966.
Provenance:
Lent for microfilming, 1979, by Pauline Evans, founder and director of the gallery.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
The David Gallery records measure 0.5 linear feet and date from 1963 to 1982. This small collection sheds light on the gallery's operations through correspondence, photographs, printed material, exhibition ephemera, and several price lists. The collection also includes an etching by artist Lucas Johnson.
Scope and Contents:
The David Gallery records measure 0.5 linear feet and date from 1963 to 1982. The collection consists of correspondence with museums, friends, and artists, including Seymour Leichman and illustrated letters by Donald Roller Wilson; an essay, posters, announcements, and catalogs from exhibitions held at David Gallery; an etching made by Lucas Wilson; newspaper clippings, advertisements, and articles; and the resumes of artists Bob Fowler and Bruce Kleinsmith, also known as Futzie Nutzle. Photographs in the collection include images of artists Lucas Johnson, Forest Moses, Bob Fowler, Paul Maxwell, Bob Camblin, and others; events and exhibitions held at David Gallery; the gallery's exterior; an exhibition installation; and of Dianne David, the gallery's founder.
Arrangement:
Due to the small size of this collection the records are arranged as one series.
Biographical / Historical:
The David Gallery was founded in Houston, Texas in 1963 by Dianne David. The gallery exhibited mostly local painters and sculptors, and had a large influence on the Houston contemporary art scene. David was known for representing and exhibiting artists whose work and personality she liked personally. Artists shown at the gallery include Bob Camblin, Lucas Johnson, Donald Roller Wilson, Seymour Leichmann, and Bob Fowler, all of whom she became friends with. David closed her gallery in 1982.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming. Reel 3100 frames 1-138 consist of David Gallery exhibition announcements. Reel 3100 frames 143-583 consists of 14 artists' files compiled by Dianne David, which include correspondence, mostly letters received by Dianne David; printed material; sketches and 2 etchings by Bob Camblin; and photographs of artists, their works and 1 photo of the gallery. Artists' include: William C. Agee, Jack Boynton, Bob Camblin, Roy Fridge, James Kearns, Seymour Leichman, Jim Love, David McManaway, Robert Morris, Futzie Nutzle, Peter Paone, Mike Selig and Don Shaw. Materials were returned to the lenders after microfilming. Loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
Microfilmed as part of the Archives of American Art's Texas project, material on reel 3100, frames 1-138 were lent for microfilming 1983 by Lester Giese; and reel 3100 frames 143-583 were lent for microfilming in 1983 by Dianne David, owner of the gallery. The records were donated in 1981 by Dianne David.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Art -- Collectors and collecting -- Texas -- Houston Search this
Function:
Art galleries, Commercial -- Texas
Citation:
David Gallery records, 1963-1982. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Newspaper and magazine clippings relating to exhibitions at the Gallery; a press release for the exhibition SITE SPECIFIC: SAN ANTONIO, Charlton Gallery, 1982; and bulletins published by the Arts Council of San Antonio, 1978-1979.
Biographical / Historical:
Art gallery; San Antonio, Texas. Established 1977 by Anne Alexander, President of the gallery.
Provenance:
Microfilmed as part of the Archives of American Art's Texas project.
Lent for microfilming 1982 by Anne Alexander.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
An exhibition diary containing brief notes; 9 letters regarding the gallery; price lists; and printed material including invitations for exhibitions, press releases, clippings, brochures and newsletters.
Biographical / Historical:
Art gallery; Austin, Tex. Founded 1976. Speciality in prints of American and European artists and works of contemporary Latin American artists.
Provenance:
Lent for microfilming 1983 by Dana Ravel, the owner of Galerie Ravel.
Microfilmed as part of the Archives of American Art's Texas project.
Clippings and exhibition announcements from Long's galleries, including Davis & Long Company, and Meredith Long Contemporary in New York City, and Meredith Long & Company, Houston.
Biographical / Historical:
Art galleries; Houston, Texas and New York, N.Y. Owned and directed by Meredith Long. Businesses included Davis and Long, 746 Madison Ave., NYC; Meredith Long Contemporary, 7 W. 57th St., NYC, and Meredith Long and Company, 2323 San Felipe, Houston, Tex. Specialized in 19th and 20th century American art. Long is a Trustee and member of the Board of Directors at the Museum of Fine Arts, Houston and Contemporary Arts Museum.
Provenance:
Lent for microfilming 1979 by Meredith Long & Co.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Artists' files containing: correspondence; resumes; photos; printed material; biographical data; and inventory lists. Also included are financial records and mailing lists.
REELS 1909-1910, 2003-2004: Files on 25 artists, including John Alexander, Terry Allen, Eugene Bavinger, Larry Bell, Leon Berkowitz, Peter Bodner, George Bogart, Barry Buxkamper, Jon Carsman, Nancy Chambers, Walter Cooper, Lee Baxter Davis, Warren Davis, George Dombek, Letitia Eldridge, Janet Fish, David Gilhooly, George Green, Richard Haas, James Havard, Tony La Selle,Stephen Lorber, Philip Makanna, Jim Malone, and Raffaele Martini; and printed material from Smither Gallery and Cranfill Gallery, predecessors of Delahunty Gallery.
REELS 2092-2093: Files on artists Jan McComas, David McManaway, Larry Scholder, Robert Tiemann, and Robert Wade.
Biographical / Historical:
Art gallery; Dallas, Tex.
Provenance:
Microfilmed as part of the Archives of American Art's Texas project.
Lent 1980 for microfilming by Murray Smithers.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Business correspondence, 1977-1980; clippings; exhibition announcements; a scrapbook containing clippings, exhibition announcements, catalogs, invitations and photographs; price lists of works of art; and miscellany.
Biographical / Historical:
Art gallery; Dallas, Tex.
Provenance:
Lent for microfilming 1981 by Diana Block, director of D.W. Gallery.
Microfilmed as part of the Archives of American Art's Texas project.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
The Joe Lopez papers and Gallista Gallery records measure 1.7 linear feet and 32.93 GB and date from 1966 to 2016. The collection is comprised of biographical records that include interviews with Lopez, autobiographical writings by Lopez and writings by others, printed and digital materials, artwork, and photographic and moving image materials. Records for the Gallista Gallery include trademark files and legal records pertaining to the lawsuit against Lopez by E and J Gallo Winery over the use of the word "gallo."
Scope and Contents:
The Joe Lopez papers and Gallista Gallery records measure 1.7 linear feet and 32.93 GB and date from 1966 to 2016. The collection is comprised of biographical records that include interviews with Lopez, autobiographical writings by Lopez and writings by others, printed and digital materials, artwork, and photographic and moving image materials. Records for the Gallista Gallery include trademark files and legal records pertaining to the lawsuit against Lopez by E and J Gallo Winery over the use of the word "gallo."
Series 2: Writings, circa 1997-2002 (Box 1; 6 folders)
Series 3: Gallista Gallery Records, 1990-2016 (Boxes 1, 3; 0.8 linear feet, ER07; 7.53 GB)
Series 4: Printed Materials, circa 1975-2015 (Boxes 1-3; 0.4 linear feet)
Series 5: Artwork, circa 1990-2008 (Boxes 2-3; 5 folders)
Series 6: Photographic and Moving Image Materials, circa 1985-circa 2010 (Box 2; 0.2 linear feet, ER08-10; 6.10 GB)
Biographical / Historical:
Joe Lopez (1945- ) is a painter and founder of the Gallista Gallery (1996-2016) in San Antonio, Texas.
Lopez grew up in El Barrio Escondido, a neighborhood in San Antonio. He was introduced to art through his Uncle Basilio, a folk artist. While a student at St. Anthony Shrine School, Lopez gained the attention of one of the nuns which led to a scholarship to attend the Witte Museum Art School. He also attended La Villita School of Art, the San Antonio School of Art, and was awarded a scholarship to McNay Art Museum school. Lopez trained with artists Warren Hunter, John Squire Adams, Finis Collins, and Jesus "Chista" Cantu. Because Lopez was born with one hand, artist Jesse Treviño was an inspiration to Lopez for his ability to paint with one hand.
Lopez's paintings often feature gallos, the Spanish word for roosters, because they symbolize strength and pride in Chicano and Mexican American culture. Lopez opened his own gallery in 1996 because he was having difficulty booking exhibitions at other galleries. The original name of the gallery was Puro Gallo, and he changed the name to Gallista Gallery in 1998. Gallista was coined by Lopez to describe those who supported him during a five year court battle with E and J Gallo Winery. The wine company initiated the lawsuit against Lopez over the use of the word "gallo." The gallery became a bedrock of the community, fostering the talents of local Latino artists long after the lawsuit ended.
Early in his career, Lopez worked in the art department for Dillard's and Centeno's supermarket before becoming employed in the graphics department at Fort Sam Houston, a U.S. Army post in San Antonio. He retired in 2007 from Fort Sam Houston after 22 years.
Lopez's work has been exhibited at the McNay Art Museum, Laguna Gloria Art Museum, and other museums throughout Texas. His paintings have been featured on posters and covers of music albums including Taquachito Nights: Conjunto Music from South Texas produced by Smithsonian Folkways Recordings and Puro Gallo by Los Padrinos.
Provenance:
The Joe Lopez papers and Gallista Gallery records were donated by Joe Lopez in 2016.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Rights:
The donor has retained all intellectual property rights, including copyright, that he or she may own.
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.
