Exhibition files are found for numerous exhibitions at university art galleries, commercial galleries, museums, and other organizations for which Terry Dintenfass, Inc. either loaned artwork or organized. Extensive files are found for the 20/20 (1982) exhibition, the Academy of Arts and Letters, June Leaf exhibitions, and exhibitions at Pennsylvania State University, Robinson Galleries, and the Whitney Museum of American Art. Also included are files for Mitzi Landau, who provided exhibition services to the gallery, and for machine themed exhibitions that deal with technology and industry.
Arrangement:
The series is arranged alphabetically by location, exhibition title, or artist surname.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Terry Dintenfass, Inc. records, 1947-1987, bulk 1961-1983. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.
The Schneider-Gabriel Galleries records measure 0.9 linear feet and date from 1918 to 1953. The collection is comprised mostly of photographs of paintings that span the European and American continent, dating from the 13th century to the mid-20th century. The collection also includes correspondence relating to the sale, conservation, and legitimacy of the New York gallery's artwork; a folder of papers concerning the immigration of artist Grigory Gluckmann and his wife, Anna, to the United States in 1941; financial records comprised of scant bills, checks, and statements; the catalog draft from a Walter Pach exhibition; and correspondence, printed material, and provenance records concerning portraits of George Washington by Gilbert Stuart.
Scope and Contents:
The Schneider-Gabriel Galleries records measure 0.9 linear feet and date from 1918 to 1953. The collection is comprised mostly of photographs of paintings that span the European and American continent, dating from the 13th century to the mid-20th century. The collection also includes correspondence relating to the sale, conservation, and legitimacy of the New York gallery's artwork; a folder of papers concerning the immigration of artist Grigory Gluckmann and his wife, Anna, to the United States in 1941; financial records comprised of scant bills, checks, and statements; the catalog draft from a Walter Pach exhibition; and correspondence, printed material, and provenance records concerning portraits of George Washington by Gilbert Stuart.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Schneider-Gabriel Galleries was an art gallery in New York, New York, started circa 1938 by art dealers Albert Schneider and Gilbert Gabriel. Before starting their own business, Schneider and Gabriel worked with John Levy of John Levy Galleries in New York in the 1920s. Schneider-Gabriel exhibited and dealt paintings, mostly portraits and landscapes, by well-known European artists from the 13th to 20th centuries as well as a number of American artists from the 19th and 20th centuries. Artists whose work was sold and exhibited by Schneider-Gabriel include Walter Pach, Winslow Homer, Alexander Canedo, Gilbert Stuart, Jean-Baptiste-Camille Corot, and among many others.
Provenance:
The collection was donated circa 1958 by the widow of Albert Schneider.
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 -- New York (State)
Citation:
Schneider-Gabriel Galleries records, 1918-1953. 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 Grapestake Gallery records measure 2.8 linear feet and date from 1970-1986. The collection sheds light on the gallery's operation through administrative records and artist files.
Scope and Contents:
The Grapestake Gallery records measure 2.8 linear feet and date from 1970-1986. The collection sheds light on the gallery's operation through administrative records and artist files.
Administrative records include correspondence with galleries, museums, collectors, dealers, and some artists, and exhibition records. Artist files include resumes, exhibition announcements and reviews, press releases, price lists, scattered photos of artwork, and scattered correspondence with artists. Artists represented include Ansel Adams, Imogen Cunningham, Philippe Halsman, Helen Levitt, Joel Meyerowitz, and others.
Arrangement:
The collection is arranged as two series.
Series 1: Administrative Records, 1974-1986 (Box 1; 1 linear foot)
Series 2: Artist Files, 1970-1985 (Box 2-4; 1.8 linear feet)
Biographical / Historical:
Founded in San Francisco, California, by Ursula Gropper, Thomas V. Meyer and their father, Otto Meyer in 1974, the Grapestake Gallery was known for showing contemporary California painters, sculptors, and 20th-century American photographers. Gropper and Thomas Meyer, both artists, were proponents of photography as a fine art medium.
Artists featured in Grapestake exhibitions included Ansel Adams, whose retrospective was the gallery's inaugural exhibition, Imogen Cunningham, Greg Renfrow, Richard Misrach, Joel Meyerowitz, Leland Rice, and many others. The gallery was over 4,000 square feet, containing a primary exhibition space and three other rooms for exhibiting art, and was known for showing at least two exhibitions at a time.
Provenance:
The collection was donated by Thomas V. Meyer in 1987.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Function:
Art galleries, Commercial -- California -- San Francisco
Citation:
Grapestake Gallery records, 1970-1986. 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 Anneberg Gallery records measure 4.4 linear feet and date from 1945 to 1992, with the bulk of the records dating from 1966 to 1981. The collection sheds light on the San Francisco gallery's operations, specializing in local crafts and international folk art, through administrative records, artist files, exhibition files, and photographic material.
Scope and Contents:
The Anneberg Gallery records measure 4.4 linear feet and date from 1945 to 1992, with the bulk of the records dating from 1966 to 1981. The collection sheds light on the gallery's operations through administrative records, artist files, exhibition files, and photographic material.
Administrative records include financial papers such as sales invoices, expenses, consignment records; notes, writings, and reference cards pertaining to international and Native folk art, particularly ceremonial and non-ceremonial masks; and scant printed material. Administrative records also include a ledger that belonged to the painter James Edgar Forkner. Artist files consist of correspondence, biographical material, printed material, price lists, sales invoices, and some photographic material. Exhibition files consist of correspondence with importers of the exhibited material, price lists, announcements, some shipping and delivery documents, newspaper clippings, and notes. This series also includes a scrapbook consisting of the gallery's exhibition announcements and posters. Photographic material includes negatives, slides, snapshots, and contact sheets of textiles, fabrics, sculptures and figurines, international artists and artisans, as well as some personal images taken in San Francisco, California and Seattle, Washington.
Arrangement:
This collection is arranged as four series.
Series 1: Administrative Records, 1945-1990 (Box 1; 0.9 linear feet)
Series 2: Artist Files, 1967-1981 (Box 1-2; 1 linear foot)
Series 3: Exhibition Files, 1966-1992 (Box 2-4; 2.2 linear feet)
Series 4: Photographic Material, circa 1966-1981 (Box 5; 0.4 linear feet)
Biographical / Historical:
The Anneberg Gallery was founded in San Francisco, California, in 1966 by Margery Anneberg. The gallery's original name was The Jewelry Shop and Gallery, but it changed to Anneberg Gallery in 1967. The gallery exhibited local artists and crafts; however, it specialized in the exhibition and sale of international folk art. Anneberg gathered textiles, masks, fabrics, baskets, sculptures, and much more from collectors and importers around the world. The gallery showcased items from the Middle East, China, Japan, Africa, South America, Mexico, and others. Although mostly involved in displaying contemporary crafts, the gallery did exhibit some historical artifacts as well.
Provenance:
The collection was donated in 2004 by Craig T. Anneberg, brother of gallery owner Margery Anneberg, as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
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.
Anneberg Gallery records, 1945-1992. 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 Dorothy Weiss Gallery measure 18.7 linear feet and date from circa 1964 to 2001 (bulk 1984-2000). The collection documents the gallery's relationships with approximately three hundred artists, through artist files, exhibition files, and subject files, and is an excellent source of information on the work of contemporary ceramic and glass sculptors.
Scope and Content Note:
The Dorothy Weiss Gallery records measure 18.7 linear feet and date from circa 1964 to 2001 (bulk 1984-2000). Although the collection includes limited records overlapping from Weiss's dealings with some artists through Meyer Breier Weiss Contemporary Crafts, Inc., its primary focus is the activities of the Dorothy Weiss Gallery. The records provide fairly extensive coverage of the gallery's relationship with approximately thirty artists, and scattered documentation of Weiss's relationship with more than two hundred other artists whose work she represented, exhibited, or had an interest in at some time during the gallery's existence. Overall, the collection is an excellent source of information on contemporary ceramic and glass sculpture and includes artist files of correspondence, administrative records, printed matter, and photographic material, as well as exhibition files and subject files.
The bulk of the collection consists of Series 1: Artist Files, which includes correspondence with artists, biographical material, printed material relating to exhibitions at the Dorothy Weiss Gallery and elsewhere, photographs of artwork, and administrative records such as price lists, inventories, and loan and consignment documentation.
Series 2: Exhibition Files contains records of approximately twenty-five group exhibitions held at the gallery, such as the Teapot Invitationals, and various exhibitions of glass artists. Records relating to exhibitions for a single artist's work can be found in Series 1: Artist Files.
Series 3: Subject Files consists of a small group of general subject files maintained by the gallery, such as correspondence with different types of clients, and records relating to specific projects outside the gallery in which Weiss participated.
Arrangement:
The collection is arranged into three series. The basic original arrangement was maintained throughout the collection. Records are generally arranged alphabetically by artist, subject, or exhibition, and then chronologically.
Missing Title
Series 1: Artist Files, circa 1964-2001(boxes 1-18, OV 21; 17.5 linear ft.)
Series 2: Exhibition Files, 1979-1999 (box 19; 0.75 linear ft.)
Series 3: Subject Files, 1983-2000 (boxes 19-20; 0.45 linear ft.)
Historical Note:
Dorothy Weiss founded the Dorothy Weiss Gallery in 1984. From 1977 Weiss had partnered with Sue Meyer and Virginia Breier in Meyer Breier Weiss Contemporary Crafts, Inc. She opened her new gallery in what was to be its permanent location at 256 Sutter Street in downtown San Francisco.
The Dorothy Weiss Gallery was renowned in San Francisco for the quality of its crafts program and the artists it represented. Weiss focused on contemporary ceramic and glass sculpture with an emphasis on non-functional, sculptural work. She also showed some paintings, drawings and monotypes, and her interests in this area expanded, particularly in the mid-1990s, when she began exhibiting works by artists such as Daniel Brice, in addition to showing drawings by artists generally known for their sculpture.
Weiss represented many of the country's most prominent and well-respected artists working in glass, including Hank Murta Adams, Dale Chihuly, Richard Marquis, William Morris, Jay Musler, Clifford Rainey, Italo Scanga, Therman Statom, and James Watkins. Glass exhibitions at the gallery included site-specific installations by artists such as Statom, Adams, and Rainey.
The gallery was also an important venue for contemporary ceramists such as Rudy Autio, Annette Corcoran, Ruth Duckworth, Michael Lucero, Beverly Mayeri, and Robert Turner. Monthly exhibitions were held on the Third floor with the Fourth floor gallery space being reserved for a variety of work by gallery artists. "Teapot Invitationals," and exhibitions of "new glass" featuring teapots and glass sculpture by a variety of artists were held regularly at the gallery.
Weiss was an active participant in the wider art community, hosting collector's groups from around the country and guests during conferences, such as a special Glass Invitational in conjunction with the Glass Art Society Conference in March 1994. As a member of the San Francisco Art Dealers Association (SFADA), Weiss participated in First Thursday, holding opening receptions to new exhibitions on the first Thursday of every month and often accompanying them with artists' talks. She also participated in an annual Introductions show along with other SFADA members, representing younger, emerging artists in the Bay Area and nationwide. In addition, Weiss assisted the American Craft Museum in developing its exhibition programs, and was a Collectors Circle Affiliate for the American Craft Council.
Dorothy Weiss closed the gallery in 2000, retiring at the age of eighty. On October 4 of that year the Museum of Craft and Folk Art in San Francisco opened A Tribute to Dorothy Weiss, an exhibition selected from her own collection.
Provenance:
The collection was donated to the Archives of American Art by Dorothy Weiss in 2002.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The artists' files of commercial New York art gallery Scott & Fowles measure 2.5 linear feet and date from 1904 to 1946. The majority of the collection contains photographs of artwork, biographical writings on the artists, and notes regarding sales transactions, artwork descriptions, and history of the ownership of artworks by artists such as Augustus John, Peter Lely, and Thomas Rowlandson. Also included in smaller amounts are letters, financial records, and clippings.
Scope and Contents:
The artists' files of commercial New York art gallery Scott & Fowles measure 2.5 linear feet and date from 1904 to 1946. The majority of the collection contains photographs of artwork, biographical writings on the artists, and notes regarding sales transactions, artwork descriptions, and history of the ownership of artworks by artists such as Augustus John, Peter Lely, and Thomas Rowlandson. Also included in smaller amounts are letters, financial records, and clippings.
Arrangement:
The collection is arranged as one series.
Series 1: Scott & Fowles Artists' Files, 1904-1946 (2.5 linear feet; Boxes 1-4)
Biographical / Historical:
Scott & Fowles was a commercial art gallery in New York, N.Y. The gallery was in operation from approximately 1905 to 1943.
Related Materials:
Also found at the Archives of American Art are the Stevenson Scott papers relating to Augustus John, 1923-1949.
Separated Materials:
A scrapbook lent by Wildenstein & Co. in 1956 was microfilmed onto reel D8. The scrapbook was returned to the donor and is not described in the collection container inventory.
Provenance:
The Scott & Fowles artists' files were donated to the Cincinnati Art Museum in 1980 by Mathilda Boelscher, a former employee of Scott & Fowles. The Cincinnati Art Museum donated the files to the Archives of American Art in 1981, through Pat Rutledge, librarian at the museum. Some files were removed by a curator at the Taft Museum in Cincinnati before being received by AAA.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Function:
Art galleries, Commercial -- New York (State)
Citation:
Scott & Fowles artists' files, 1904-1946. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Women's Committee.
The records of the Candy Store Gallery measure 1.0 linear feet and date from 1968 to 2004. The records document the history of the gallery through correspondence, photographs, artist files for some of the artists, and printed material including clippings, magazine articles, exhibition announcements and catalogs.
Scope and Contents:
The records of the Candy Store Gallery measure 1.0 linear feet and date from 1968 to 2004. The records document the history of the gallery through correspondence, photographs, artist files for some of the artists, and printed material including clippings, magazine articles, exhibition announcements, and catalogs.
Artist files consist of general correspondence between Adeliza McHugh and friends and artists, and a file of photographs of artwork and exhibitions. Also included are named files for notable artists such as Robert Arneson, Luis Cruz Azaceta, Roy De Forest, and Maija Peeples.
Printed material includes clippings and magazine articles, a book on Sacramento, and exhibition announcements and catalogs, some of which are handmade.
Arrangement:
The collection is arranged into two series.
Series 1: Artist Files, 1968-2000 (0.5 linear feet; Box 1)
Series 2: Printed Material, 1970-2004 (0.5 linear feet; Box 1)
Biographical / Historical:
The Candy Store Gallery was founded by Adeliza McHugh in Folsom, California in 1962. The gallery primarily exhibited the works of teachers and students from California State University at Sacramento and the University of California at Davis. The gallery also hosted multiple solo exhibitions of artists such as Robert Arneson, Sandra Shannonhouse, and Luis Jimenez. The gallery closed in 1992.
Related Materials:
Also found in the Archives of American Art is the Candy Store Gallery exhibition announcements, [undated] and 1973-1982.
Provenance:
The collection was donated in 2004 by Sheri Renison, daughter of Adeliza McHugh, as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Function:
Art galleries, Commercial -- California
Citation:
Candy Store Gallery records, 1968-2004. 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 Gropper Art Gallery measure 0.8 linear feet and date from 1951 to 1975. The records document the history of the gallery through official gallery correspondence of director Joseph Gropper; artist files containing letters, biographical sketches, and price lists; and exhibition files containing announcements and catalogs, newspaper clippings, and reviews.
Scope and Contents:
The records of the Gropper Art Gallery measure 0.8 linear feet and date from 1951 to 1975. The records document the history of the gallery through official gallery correspondence of director Joseph Gropper; artist files containing letters, biographical sketches, and price lists; and exhibition files containing announcements and catalogs, newspaper clippings, and reviews.
Artist files consist of a files on artists represented by the gallery and include material such as resumes, correspondence, price lists, and photographs. Some of the notable artists include Carl Sprinchorn, Diego Rivera, Byron Brown, and Katharine Sturgis. Also included is a file of correspondence from Joseph Gropper, director of the gallery.
Exhibition files consist of files organized by the gallery between 1958 and 1973. Materials include exhibition announcements and catalogs, reviews, and press releases. Also included are two files of general newspaper clipping related to both the exhibitions and artists represented by the gallery.
Arrangement:
The collection is arranged into two series.
Series 1: Artist Files, 1951-1975 (0.5 linear feet; Boxes 1-2)
Series 2: Exhibition Files, 1955-1973 (0.3 linear feet; Box 2)
Biographical / Historical:
The Gropper Art Gallery of Cambridge, Massachusetts was established by Joseph Gropper in 1954 and specialized in prints.
Provenance:
Donated 1975 by Joseph Gropper.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Function:
Art galleries, Commercial -- Massachusetts
Citation:
Gropper Art Gallery Records, 1951-1975. 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 Parish Gallery, located in Washington, D.C., measure 6.4 linear feet and 11.73 gigabytes and date from 1940 to 2013, with the bulk of the collection dating from 1991 to 2013. This collection consists primarily of exhibition files, but also includes administrative files, as well as some biographical material related to Norman Parish's career before opening the gallery.
Scope and Contents:
The records of Parish Gallery, located in Washington, D.C., measure 6.4 linear feet and 11.73 gigabytes and date from 1940 to 2013, with the bulk of the collection dating from 1991 to 2013. This collection consists primarily of exhibition files, but also includes administrative files, as well as some biographical material related to Norman Parish's career before opening the gallery.
Exhibition files include printed materials, photographic material, correspondence, loan agreements, born digital material, and other materials related to exhibitions held at Parish Gallery. In some cases exhibition files serve as artist files as well, with additional materials related to artists' work. Notable artists included within these files are Wadsworth A. Jarrell, Oggi Ogburn, Evangeline J. (E. J.) Montgomery, Bruce McNeil, Sandi Ritchie Miller, Marilyn Horrom, Samella Lewis, Herbert Gentry, and Tayo Adenaike.
Administrative files include materials related to Galleries 1054, where Parish Gallery was located; as well as a proposal from Black Artists of DC; correspondence; and clippings.
Norman Parish biographical material includes documents related to Norman Parish's art career and honors and awards he received.
Arrangement:
The collection is arranged in three series.
Series 1: Exhibition Files, 1940-1944, 1971-2013, bulk 1991-2013 (Boxes 1-6, OV 8-9, ER01-ER20; 5.9 linear feet)
Series 2: Administrative Files, 1991-2013 (Box 6; 0.3 linear feet)
Series 3: Norman Parish Biographical Material, 1970-2013 (Box 7, ER21; 0.2 linear feet)
Biographical / Historical:
Parish Gallery (established 1991-closed 2013) was a gallery in Washington, D.C. Founded by artist Norman Parish (1937-2013), the gallery was known for exhibiting artwork by African American and international artists. Parish's wife Gwen co-managed the gallery from the beginning until it closed its doors. Over the course of its 22 year history, Parish gallery exhibited the works of over 170 artists from Ghana, Nigeria, Morocco, France, Spain, Greece, and many other countries. In articles and interviews, Parish underscored the gallery's dedication to showing the works of underrepresented artists of all backgrounds, though the primary focus was the members of the African diaspora, and help them promote their work.
Norman Parish was born in New Orleans in 1937 and grew up in Chicago. He graduated from the Art Institute of Chicago in 1960 and contributed to the Wall of Respect in 1967. He was a painter and was in several exhibitions. In 1988 Parish moved to Washington, D.C., and he opened Parish Gallery in Georgetown in 1991, making it one of the few galleries owned by an African American at the time. The gallery quickly grew in prominence over the years highlighting the works of major artists such as Wadsworth Jarrell, Herbert Gentry, and E. J. Montgomery, as well as artists from the United States and abroad. The final exhibition at the gallery was entitled Norman Parish: The Artist in 2013. Parish passed away that same year.
Provenance:
The Parish Gallery records were donated in 2016 by Gwen Parish, Norman Parish's widow.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of electronic records with no duplicate copies requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Parish Gallery records, 1940-2013. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization of this collection was provided by the Roy Lichtenstein Foundation.
The records of the Washington, D.C. located Franz Bader Gallery measure 13.0 linear feet and date from 1925 to 1995. The materials document the gallery's history and administrative activities, the artists represented by the gallery, the exhibitions held at the space, and the life of Franz Bader. The collection comprises the personal papers of Franz Bader including files regarding his photography career; artist's files for Paul Arlt, David Becker, William Calfee, Un'ichi Hiratsuka, Robert Marx, Wang Ming, Naúl Ojeda, Prentiss Taylor, Alma Thomas, Lee Weiss, and others; and gallery files containing correspondence, exhibition records, client invoices and other administrative records, files on Inuit art and bark paintings, and a file for Whyte Bookshop and Gallery. Also found are inventory and sales records consisting of two card files, ledgers, stock and inventory lists, and a sales binder; printed and broadcast materials relating to exhibitions, Bader and his photography, events, and includes a video recording featuring the gallery on the show Around Town; guestbooks which hold signatures and notes from gallery patrons; scrapbooks that include printed material related to the gallery's exhibitions, D.C.-based artists the gallery represented, and other gallery events; and photographs of Bader and others, the gallery space, works of art, and candid photographs from exhibition openings.
Scope and Contents:
The records of the Washington, D.C. located Franz Bader Gallery measure 13.0 linear feet and date from 1925 to 1995. The materials document the gallery's history and administrative activities, the artists represented by the gallery, the exhibitions held at the space, and the life of Franz Bader. The collection comprises the personal papers of Franz Bader including files regarding his photography career; artist's files for Paul Arlt, David Becker, William Calfee, Un'ichi Hiratsuka, Robert Marx, Wang Ming, Naúl Ojeda, Prentiss Taylor, Alma Thomas, Lee Weiss, and others; and gallery files containing correspondence, exhibition records, client invoices and other administrative records, files on Inuit art and bark paintings, and a file for Whyte Bookshop and Gallery. Also found are inventory and sales records consisting of two card files, ledgers, stock and inventory lists, and a sales binder; printed and broadcast materials relating to exhibitions, Bader and his photography, events, and includes a video recording featuring the gallery on the show Around Town; guestbooks which hold signatures and notes from gallery patrons; scrapbooks that include printed material related to the gallery's exhibitions, D.C.-based artists the gallery represented, and other gallery events; and photographs of Bader and others, the gallery space, works of art, and candid photographs from exhibition openings.
Arrangement:
This collection is arranged as eight series.
Series 1: Franz Bader Papers, 1928-1993, (Boxes 1, 5, OV 17; 0.5 linear feet)
Series 2: Artist's Files, 1938-1995, (Boxes 5-12, OV 17; 7.0 linear feet)
Series 3: Gallery Files, 1953-1993, (Boxes 1, 12-13; 1.6 linear feet)
Series 4: Inventory and Sales Records, 1960-1989, (Boxes 13-14, 16; 1.0 linear feet)
Series 5: Printed and Broadcast Materials, 1952-1994, (Boxes 1-2, 14-15; 0.5 linear feet)
Series 6: Guestbooks, 1975-1980, (Boxes 1-3; 0.5 linear feet)
Series 7: Scrapbooks, 1950s-1980s, (Boxes 1-2, 4, 15, BV 18; 0.9 linear feet)
Series 8: Photographs, 1925-circa 1990, (Boxes 2, 15, OV 17; 0.5 linear feet)
Biographical / Historical:
The Franz Bader Gallery was an art gallery and bookshop in Washington D.C. operated by Franz Bader (1903-1994) under various names including Franz Bader Gallery, Franz Bader Inc., and Franz Bader Gallery and Bookshop. In 1953, Bader established the gallery at 1705 G Street Northwest, where he showed local and/or upcoming artists, as well as contemporary prints. The gallery moved in September 1964 to 2124 Pennsylvania Avenue and in October 1979 to 2001 I Street, where Bader remained until his retirement in 1985. The gallery continued on after his retirement, and moved location to 1701 Pennsylvania Avenue in 1987, and to 1500 K Street in 1990. The final show held by the gallery was in 1995. Among the artists represented by the gallery and included in this collection are Alice Acheson, Anita Bucherer, Frank Bunts, Bernice Cross, Harry Irving Gates, Peter Milton, Michael Platt, Alma Thomas, Leonard Maurer, and others.
Franz Bader was born in Vienna, Austria in 1903. By 1937, Vienna had succumbed to Nazi occupation, and in 1939 Bader and his wife Virginia fled, moving to America where he found employment at the Whyte Bookshop and Gallery in Washington D.C. He was inspired to create a gallery different than those typically found in the conservative atmosphere of Washington D.C., and he made it his mission to represent contemporary artists living and working in the city. His work with modern art set him apart, eventually earning him the moniker of "Dean of the Washington Gallery Dealers". He passed away in 1994.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Franz Bader conducted by Julie Link Haifley in 1978.
Provenance:
The scrapbooks, guestbooks, a small amount of printed material and correspondence, photographs of the Franz Bader Gallery, and honors for Bader were donated to the Archives of American Art by Virginia F. Bader, Franz Bader's wife, in 1995. The other material was donated by John Benjamin Dunn, lawyer for the gallery, in 2002.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Function:
Art galleries, Commercial -- Washington (D.C.)
Genre/Form:
Scrapbooks
Video recordings
Citation:
Franz Bader Gallery records, 1925-1995. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation and the Smithsonian Women's Committee.
The David Stuart papers and gallery records measure 1.3 linear feet and date from 1910 to 1984. The collection sheds light on Stuart's personal and professional life through scattered correspondence, photographs, and appraisal records; and his galleries' operations through scant artist files, exhibition files, photographs, and printed material.
Scope and Contents:
The David Stuart papers and gallery records measure 1.3 linear feet and date from 1910 to 1984. The collection contains Stuart's personal and professional papers as well as gallery records. Personal and professional papers include correspondence concerning Stuart's career in New Orleans jazz music; appraisal records of pre-Columbian artifacts; papers related to the Louis Armstrong Statue Fund in New Orleans; scattered family papers and personal photographs; and more. Gallery records shed light on the operations of both galleries owned by Stuart through scant artist, exhibition, collector, and gallery files; printed material such as newspapers clippings and gallery posters; and photographs of the gallery, artwork, and artists.
Arrangement:
The collection is arranged as two series.
Series 1: David Stuart Personal and Professional Papers, 1910-1984 (Box 1; 11 folders)
Series 2: Gallery Records, 1960s-1983 (Box 1-2, OV 3; 1.1 linear feet)
Biographical / Historical:
David Stuart (1910-1984) was a gallery owner and owner of a jazz shop and record label in Los Angeles, California. Stuart opened Jazz Man Record Shop in Hollywood in 1939, and then in 1941 started a record label, Jazz Man Records. Stuart parted ways with both the label and the shop by 1946. In 1961, David Stuart along with his friend, Edward Primus, founded the Primus-Stuart Gallery in Los Angeles, California. In the same location two years later, Stuart founded David Stuart Galleries. The gallery specialized in showing emerging contemporary artists and pre-Columbian art and artifacts. Included in the list of artists shown at Stuart's galleries is John Altoon, Oliver Andrews, Sorel Etrog, Marvin Harden, and June Harwood.
Provenance:
The collection was donated by Jacqueline Anhalt Stuart in 1985.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Gallery directors -- California -- Los Angeles Search this
Topic:
Art, Modern -- 20th century -- California -- Los Angeles Search this
Art dealers -- California -- Los Angeles Search this
David Stuart Papers and Gallery Records, 1910-1984. 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 Stephen Radich Gallery measure 8.2 linear feet and date from 1942 to 1979. The collection comprises administrative files documenting the New York gallery's daily activities and seven exhibitions; correspondence with museums, galleries, and arts organizations and publications; artist's files for Peter Agostini, Ethel Edwards, Xavier Gonzalez, Dimitri Hadzi, Will Horwitt, Matsumi Kanemitsu, Marc Morrel, George Sugarman, and others; financial and sales records that include check registers, consignment records, price lists, sales invoices, and shipping records; and exhibition announcements and catalogs, booklets, and clippings in printed materials. Material created by the Martin Widdifield Gallery can be found throughout the collection, particularly material dated before 1960.
Scope and Contents:
The records Stephen Radich Gallery measure 8.2 linear feet and date from 1942 to 1979. The collection comprises administrative files documenting the New York gallery's daily activities and seven exhibitions; correspondence with museums, galleries, and arts organizations and publications; artist's files for Peter Agostini, Ethel Edwards, Xavier Gonzalez, Dimitri Hadzi, Will Horwitt, Matsumi Kanemitsu, Marc Morrel, George Sugarman, and others; financial and sales records that include check registers, consignment records, price lists, sales invoices, and shipping records; and exhibition announcements and catalogs, booklets, and clippings in printed materials. Material created by the Martin Widdifield Gallery can be found throughout the collection, particularly material dated before 1960.
Arrangement:
The collection is arranged as five series.
Series 1: Administrative Files, 1956-1976 (1.0 linear feet; Boxes 1-2)
Series 2: Correspondence, 1956-1979 (2.0 linear feet; Boxes 2-4)
Series 3: Artist's Files, 1956-1973 (1.2 linear feet; Boxes 4-5)
Series 4: Financial and Sales Records, 1956-1978 (3.0 linear feet; Boxes 5-8)
Series 5: Printed Materials, 1942-circa 1970 (1.0 linear feet; Boxes 8-9)
Biographical / Historical:
The Stephen Radich Gallery was owned by Stephen Radich (1922-2007) and located in New York, N.Y. Radich was the director of the Martin Widdifield Gallery on 818 Madison Ave. in 1959. In 1960, he purchased the lease on the gallery building and changed the name to the Stephen Radich Gallery. The gallery represented artists George Sugarman, Dimitri Hadzi, Ethel Edwards, Yayoi Kusama, and Xavier Gonzalez among others. In 1966, the gallery held an exhibition of artwork by Marc Morrel who incorporated the American flag in his sculpture as a means to protest the Vietnam War. The artworks, as well as the gallery, attracted the attention of police resulting in a lawsuit and conviction against Radich. Eventually Radich's conviction was overturned by a federal court in 1974. The gallery closed in 1969.
Related Materials:
Also found at the Archives of American Art is an oral history interview with Stephen Radich conducted February 18-29, 1972 by Paul Cummings for the Archives of American Art.
Provenance:
The Stephen Radich Gallery records were donated from 1979 to 1980 by Stephen Radich.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Function:
Art galleries, Commercial -- New York (State)
Citation:
Stephen Radich Gallery records, 1942-1979. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Women's Committee.
The records of New York gallery and bookstore Weyhe Gallery measure 15.3 linear feet and date from 1921 to 2014. The collection is comprised of administrative files that include material related to the daily functions of the gallery; correspondence with curators, dealers, museums, clients, and artists including Ansel Adams, Alexander Brook, Galerie Alfred Flechtheim, Hilla Rebay, and Marion Willard, among others, and from Lynton Kistler to Carl Zigrosser expressing his desire to exhibit his collection of hand-printed lithographs; artist files that include correspondence and business records; financial records consisting of loan and consignment records, sales invoices, ledgers, and other material that documents the movement of artwork through the gallery and bookstore; printed materials that include photocopies of sales catalogs, clippings, exhibition announcements and catalogs, and other material; and photocopies of 8 volumes of scrapbooks containing clippings relating to artists, prints, and the gallery.
Scope and Contents:
The records of New York gallery and bookstore Weyhe Gallery measure 15.3 linear feet and date from 1921 to 2014. The collection is comprised of administrative files that include material related to the daily functions of the gallery; correspondence with curators, dealers, museums, clients, and artists including Ansel Adams, Alexander Brook, Galerie Alfred Flechtheim, Hilla Rebay, and Marion Willard, among others, and from Lynton Kistler to Carl Zigrosser expressing his desire to exhibit his collection of hand-printed lithographs; artist files that include correspondence and business records; financial records consisting of loan and consignment records, sales invoices, ledgers, and other material that documents the movement of artwork through the gallery and bookstore; printed materials that include photocopies of sales catalogs, clippings, exhibition announcements and catalogs, and other material; and photocopies of 8 volumes of scrapbooks containing clippings relating to artists, prints, and the gallery.
Arrangement:
The collection is arranged as six series.
Series 1: Administrative Files, circa 1930-circa 1990 (0.5 linear feet; Box 1)
Series 2: Correspondence, 1921-2005 (3.0 linear feet; Boxes 1-4)
Series 3: Artist Files, 1930-2002 (0.8 linear feet; Boxes 4-5)
Series 4: Financial Records, 1926-2009 (9.2 linear feet; Boxes 5-14, 17)
Series 5: Printed Materials, 1930-2014 (0.8 linear feet; Box 14, OV 18)
Series 6: Scrapbooks, circa 2000 (1.0 linear feet; Boxes 14-16)
Biographical / Historical:
The Weyhe Gallery (est. 1919) was an art gallery and bookstore in New York, N.Y. It was one of the first New York galleries to specialize in prints.
The gallery was established by German-born dealer Erhard Weyhe (1883-1972). Before World War I, he worked as a print dealer, as well as a book dealer and publisher. He owned a shop in London but moved his business to New York once the war began. He first opened the Weyhe Gallery on 710 Lexington Ave. in 1919. From 1923 to 2003, the gallery was located at 794 Lexington Ave. The gallery focused on artists from Western Europe but also sold the works of Antonio Frasconi, Wanda Gág, Rockwell Kent, Rudy Pozatti, and Diego Rivera among others.
Carl Zigrossser was the gallery's first director from 1919 to 1940. When Zigrosser departed after accepting a position at the Philadelphia Museum of Art, Weyhe took over as director. After Weyhe's death in 1972, his daughter, Gertrude Dennis, operated the gallery and bookstore until her death in 2003. Weyhe's granddaughter, Deborah Kiley, currently runs the gallery as Weyhe Art Books in Mt. Desert, Maine.
Provenance:
The records were donated in 1996, 2012, and 2016 by the Weyhe Gallery via owners Gertrude Weyhe Dennis and Deborah Weyhe Kiley.
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.
The records of Bridgehampton, New York's Clayton-Liberatore Gallery measure 3.9 linear feet and date from 1889 to 1980. The collection comprises administrative records that include photographs of artwork and former gallery owner Marie Sterner, and business records for galleries, museums, and arts institutions; artist's files containing records for artwork and exhibitions by over 80 artists including George Bellows, T. Victor Hall, Childe Hassam, Russell Iredell, William J. Scott, Augustus Vincent Tack, Hilda Taylor, and others; and printed materials consisting of art reproductions, books and booklets, clippings, and exhibition catalogs. Many of the files throughout the collection contain material created by Marie Sterner and the Marie Sterner Gallery.
Scope and Contents:
The records of Bridgehampton, New York's Clayton-Liberatore Gallery measure 3.9 linear feet and date from 1889 to 1980. The collection comprises administrative records that include photographs of artwork and former gallery owner Marie Sterner, and business records for galleries, museums, and arts institutions; artist's files containing records for artwork and exhibitions by over 80 artists including George Bellows, T. Victor Hall, Childe Hassam, Russell Iredell, William J. Scott, Augustus Vincent Tack, Hilda Taylor, and others; and printed materials consisting of art reproductions, books and booklets, clippings, and exhibition catalogs. Many of the files throughout the collection contain material created by Marie Sterner and the Marie Sterner Gallery.
Arrangement:
The collection is arranged as three series.
Series 1: Administrative Records, 1921-1980 (Box 1; 0.8 linear feet)
Series 2: Artist's Files, 1920-1968 (Boxes 1-3, OV 6; 2.1 linear feet)
Series 3: Printed Materials, 1889-1977 (Boxes 3-5; 1.0 linear feet)
Biographical / Historical:
The Clayton-Liberatore Gallery operated in Bridgehampton, Long Island, New York. The gallery's owner, Leonard Clayton, was the founder of the Leonard Clayton Gallery in New York City. Clayton took over the Marie Sterner Gallery and later ran the gallery with his niece, Mary C. Liberatore, under the name Clayton-Liberatore Gallery. The gallery represented artists such as Childe Hassam, Augustus Vincent Tack, and Hilda Taylor among others.
Related Materials:
Also found in the Archives of American Art are the Marie Sterner and Marie Sterner Gallery papers, 1913-1951, and [Exhibition installation at the Leonard Clayton Gallery] / Edward Heim, photographer, 1921.
Provenance:
The Clayton-Liberatore Gallery records were donated from 1979 to 1981 by Mary C. Liberatore of the Clayton-Liberatore Gallery.
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.
The records of the Adams Davidson Galleries measure 21.0 linear feet and date from 1922 to 2013. The records document the history of the galleries through board meeting minutes, legal cases, appraisal course materials, and other administrative files; correspondence with insitutions and customers seeking to acquire artwork or have thier artwork appraised; artist files consisting of notes, photographs of works, and background information for specific pieces of artwork; correspondence and materials related to exhibitions held at the galleries; correspondence and some receipts with institutions and individuals regarding the purchasing of artwork or having artwork appraised; receipts, price lists, invoices, and other financial records; articles, clippings, exhibition announcements and catalogs, and other printed material; and photographs, slides, and transparencies of artwork.
Scope and Contents:
The records of the Adams Davidson Galleries measure 21.0 linear feet and date from 1922 to 2013. The records document the history of the galleries through board meeting minutes, legal cases, appraisal course materials, and other administrative files; correspondence with insitutions and customers seeking to acquire artwork or have thier artwork appraised; artist files consisting of notes, photographs of works, and background information for specific pieces of artwork; correspondence and materials related to exhibitions held at the galleries; correspondence and some receipts with institutions and individuals regarding the purchasing of artwork or having artwork appraised; receipts, price lists, invoices, and other financial records; articles, clippings, exhibition announcements and catalogs, and other printed material; and photographs, slides, and transparencies of artwork.
Administrative files consist of board meeting minutes, some legal cases related to artwork in the care of the galleries, insurance policies, and appraisal course materials. Also included are files related organizations such as the American Society of Appraisers, Washington Art Dealers Association, and the Appraisers Association of America that Ted Cooper and the galleries were affiliated with.
Correspondence consists of general correspondence between the galleries and other institutions and individuals interested in artwork.
Artist files consist of files of artists whose works were exhibited or sold by the galleries; The majority of the artists are nineteenth century American artists. Some files only consist of photographs or transparencies of an artist's works, while others contain notes, related articles, and background information on the artist and specific pieces of artwork.
Exhibition files consist of shipping receipts, loan forms, correspondence, articles, and exhibition announcements for exhibitions held at the galleries. Some of the exhibitions include: "I.M. Pei: Drawings for the East Building - National Gallery of Art in Evolution," "Works on Paper From Thomas Cole to Andrew Wyeth," and "Edgar Nye: An American Regionalist."
Institution files consist of correspondence and some receipts related to artwork that was sold or loaned to other institutions for exhbitiions or to be sold. Also included are individuals who purchased artwork from the galleries or inquired about having appraisals performed on their owned artwork.
Financial records consist of sales material such as price lists, consignments, and invoices for appraisal research. Also included are appraisal reports, financial statements, and shipping receipts. There are also customer binders and customer index cards noting who bought certain artwork and for how much.
Printed material consists of articles, clippings, newsletters, exhibition announcements, and exhibition catalogs related both to the galleries and some of the artists and artwork represented by the galleries.
Photographic material consists of photographs, slides, and transparencies of artwork sold by the galleries or of works for which appraisals were performed.
Arrangement:
The collection is arranged into eight series.
Series 1: Administrative Files, 1971-2011 (1.1 linear feet; Boxes 1-2)
Series 2: Correspondence, 1969-2008 (0.6 linear feet; Box 2)
Series 3: Artist Files, 1922-2006 (3.7 linear feet; Boxes 2-6)
Series 4: Exhibition Files, 1966-2006 (0.7 linear feet; Box 6)
Series 5: Institution Files, 1970-2006 (1.6 linear feet; Boxes 7-8)
Series 6: Financial Records, 1940-2013 (9.7 linear feet; Boxes 8-17, 21)
Series 7: Printed Material, 1971-2007 (0.7 linear feet; Boxes 17-18)
Series 8: Photographic Material, circa 1985-1995 (2.9 linear feet; Boxes 19-22)
Biographical / Historical:
Adams Davidson Galleries (established1965-closed 2014) was a gallery in Washington, D.C. that represented American artists active in the 19th and early 20th centuries. Founders Peter Powers and Donald Webster co-directed with their spouses Elizabeth Powers and Judy Webster until 1969, when Elizabeth Powers became sole owner. Theodore (Ted) Arthur Cooper was hired as Assistant Director of the gallery in 1970. In 1971, Cooper bought out Powers' interest and became sole owner. Through the gallery, Cooper also took commissions as an appraiser of American art.
Provenance:
Photographs on reels 3814 donated 1980 by the Adams Davidson Galleries. The gallery records were donated 2015 by the Theodore Arthur Cooper estate via Laura Cooper Jordan, executor.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Function:
Art galleries, Commercial -- Washington (D.C.)
Citation:
Adams Davidson Galleries records, 1922-2013. 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 Forum Gallery records measure 9 linear feet and date from 1946 to 1992, with the bulk of the records dating from 1960 to 1992. The collection sheds light on the gallery's operations through administrative records and artist files.
Scope and Contents:
The Forum Gallery records measure 9 linear feet and date from 1946 to 1992, with the bulk of the records dating from 1960 to 1992. The collection sheds light on the gallery's operations through administrative files and artist files. Administrative files include scant appraisal records, exhibition files, financial records, photographs, and printed material. Artists' files contain correspondence, photographs, contracts and agreements, loan records, price lists, mailing lists, writings, and more. Chaim Gross, Max Weber, Laura Ziegler, Raphael Sawyer, David Levine, Bruno Lucchesi, and Laura Shechter are among the many artists found in the collection.
Arrangement:
The collection is arranged as two series.
Series 1: Administrative Records, 1960s-1992 (Box 1; 0.8 linear feet)
Series 2: Artist Files, 1946-1990, bulk 1960-1990 (Box 1-9; 8.2 linear feet)
Biographical / Historical:
Forum gallery was founded in New York City in 1961 by Bella Fishko. The gallery is well known for exhibiting the figuritive art of prominent U.S. artists. Raphael Soyer, Gregory Gillespie, David Levine, and Chaim Gross were among the first artists represented by the gallery. The gallery expanded to include international artists in the 1980s, and today represents more than 30 artists from the United States and Europe. Bella Fishko's son, Robert Fishko, took over the gallery's operations after Bella's death in 1995. The gallery is also a founding member of the Art Dealers Association of America, founded in 1962.
Provenance:
The collection was donated by Robert Fishko in 1996.
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.
Forum Gallery records, 1946-1992. 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 H. Wunderlich & Company and Kennedy & Company stock books measure 2.0 linear feet and date from 1879-1915. The collection consists of twenty-two stock inventory books providing information on the types and sales of art handled by H. Wunderlich & Company, including one volume, 1915, of its successor, Kennedy & Company. Also included is a consignment book recording transactions with Gustav Lauser, C.W. Kraushaar, Francis Seymour Hayden, Albert Rosenthal, and others.
Scope and Contents:
The H. Wunderlich & Company and Kennedy & Company stock books measure 2.0 linear feet and date from 1879-1915. The collection consists of twenty-two stock inventory books providing information on the types and sales of art handled by H. Wunderlich & Company, and one volume, 1915, of its successor, Kennedy & Company. Also included is a consignment book recording transactions with Gustav Lauser, C.W. Kraushaar, Francis Seymour Hayden, Albert Rosenthal, and others.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Series 1: Stock Books, 1879-1915
Biographical / Historical:
H. Wunderlich & Company was a print gallery based in New York, N.Y., founded in 1874 by Hermann Wunderlich. After his death in 1892, his partner, Edward Kennedy took over, and in 1912 the name changed to Kennedy & Company (and in 1952 to Kennedy Galleries). H. Wunderlich & Company handled primarily fashionable prints, Old Master prints and a few of prints of contemporary artists, such as James McNeil Whistler, David Cameron, and Francis Seymour Hayden.
Provenance:
The H. Wunderlich & Company and Kennedy & Company stock books were donated in 1989 by Gerold M. Wunderlich, great-grandson of the gallery's founder Hermann Wunderlich, founder of H. Wunderlich and Kennedy & Company, and Kennedy Galleries, Inc.
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 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.
H. Wunderlich & Company and Kennedy & Company stock books, 1879-1915. Archives of American Art, Smithsonian Institution.
Sponsor:
The conservation and digitization 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 Philadelphia's Makler Gallery measure 2.1 linear feet and date from 1957 to 1989. The collection comprises business records containing some printed material, correspondence, and financial records; printed material that include issues of Prometheus, a newsletter published by the gallery; photographic materials documenting the gallery's exhibitions and events, as well as works of art by Louise Nevelson, Milton Avery, Camille Bombois, David Smith, and others; and three scrapbooks containing material regarding the gallery's activities and history from 1959 to 1973.
Scope and Contents:
The records of Philadelphia's Makler Gallery measure 2.1 linear feet and date from 1957 to 1989. The collection comprises business records containing some printed material, correspondence, and financial records; printed material that include issues of Prometheus, a newsletter published by the gallery; photographic materials documenting the gallery's exhibitions and events, as well as works of art by Louise Nevelson, Milton Avery, Camille Bombois, David Smith, and others; and three scrapbooks containing material regarding the gallery's activities and history from 1959 to 1973.
Arrangement:
The collection is arranged as four series.
Series 1: Business Records, 1957-1989 (1.0 linear feet; Box 1)
Series 2: Printed Materials, 1960-1988 (0.2 linear feet; Box 2)
Series 3: Photographic Materials, circa 1960-circa 1975 (0.8 linear feet; Box 2)
Series 4: Scrapbooks, 1959-1973 (1.1 linear feet; Box 2, OV 3)
Biographical / Historical:
The Makler Gallery (est. 1960-1985) was an art gallery located in Philadelphia, Pennsylvania that exhibited primarily pre-1960s paintings and contemporary sculptures. The gallery was founded in 1960 by Dr. Paul Todd Makler and his wife Hope. Among the artists represented by the gallery were Milton Avery, Alexander Calder, Mary Frank, Hans Hofmann, George Rickey, and Jyoti Swaroop.
Related Materials:
Also found at the Archives of American Art is an interview of Hope Makler conducted on November 28, 1989 by Marina Pacini for the Archives of American Art Philadelphia Project.
Provenance:
The Makler Gallery records were donated in 1990 by Paul and Hope Mackler.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Function:
Art galleries, Commercial -- Pennsylvania
Genre/Form:
Scrapbooks
Citation:
Makler Gallery records, 1957-1989. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Women's Committee.
Biographical sketches of artists who have exhibited at Lotte Jacobi Place and lists of works exhibited, 1964-1968, includes the following artists: Christopher Cook, Robert and Frances Flaherty, John Herrick, Lotte Jacobi, William H. Manahan, Jr., Robert E. Mueller, Louise Nevelson, Albert Renger-Patzsch, L.M.A. Roy, Luther Thompson, Minor White and Gustav Wolf.
Biographical / Historical:
Lotte Jacobi Place, Hillsboro, N.H. Founded by Lotte Jacobi of Deering, N.H. Born in Germany and moved to New York City in 1935. Studied at the Bavarian Academy of Photography, University of Munich and with her father. Was a well known portrait photographer, active in Berlin, 1927-1935. Fled Nazi Germany and opened a studio in New York. Best known for her portraits of Einstein, Eleanor Roosevelt, Robert Frost, Steichen, Stieglitz and Paul Strand. Also known for her "photogenics"--cameraless abstract light prints. Died 1990.
Provenance:
Donated 1978 by Lotte Jacobi.
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.
The PTE Fine Arts records measure 0.4 linear feet and 0.25 gigabytes, and date from 1953 to 2007. The collection includes artist files on Theodoros Stamos and Rudolf Bauer containing correspondence, business records, printed materials, photographs, and digital recordings of interviews with Stamos; business files for the Hinterreiter Foundation and Guggenheim Museum; and five exhibition guest books.
Scope and Contents:
The PTE Fine Arts records measure 0.4 linear feet and 0.25 gigabytes, and date from 1953 to 2007. The collection includes artist files on Theodoros Stamos and Rudolf Bauer containing correspondence, business records, printed materials, photographs, and digital recordings of interviews with Stamos; business files for the Hinterreiter Foundation and Guggenheim Museum; and five exhibition guest books.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Historical Note:
PTE Fine Arts (est. 1987) is a private art gallery in New York, New York, specializing in Post War and Contemporary painting, sculpture, and works on paper, founded by Takis Efstathiou (1944- ). Efstathiou was director of the Tchernov Gallery in New York before opening the Ericson Gallery in 1977. Theodoros Stamos, Rudolf Bauer, Hans Hinterreiter, Hilla Rebay, and William Baziotes were among the modern artists that exhibited at the gallery. In 1987, Efstathiou began dealing under the business name PTE Fine Arts. Efstathiou's sons, Paul and Eric, joined the business in 2001.
Provenance:
The PTE Fine Arts records were donated in 2008 by Eric Efstathiou of PTE Fine Arts, New York, N.Y.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Interviews
Video recordings
Citation:
PTE Fine Arts records, 1953-2007. Archives of American Art, Smithsonian Institution.
