Search Results

Creator:

Smithsonian American Art Museum  Search this

Type:

Lectures

YouTube Videos

Uploaded:

2011-05-23T14:00:00.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_ES9SiA5kd_w

Creator:

Soho 20 (Gallery)  Search this

Subject:

Bumby, Noreen  Search this

Goldring, N. (Nancy)  Search this

Place:

SoHo (New York, N.Y.)

Citation:

Soho 20 records, 1972-1979. Archives of American Art, Smithsonian Institution.

Topic:

Feminism and art  Search this

Women artists  Search this

Theme:

Women  Search this

Art Gallery Records  Search this

Art organizations  Search this

Record number:

(DSI-AAA_CollID)8755

(DSI-AAA_SIRISBib)210936

AAA_collcode_soho20

Theme:

Women

Art Gallery Records

Art organizations

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210936

Creator:

Santa Monica Art Gallery  Search this

Citation:

Santa Monica Art Gallery selected records, 1953-1967. Archives of American Art, Smithsonian Institution.

Theme:

Art organizations  Search this

Record number:

(DSI-AAA_CollID)6472

(DSI-AAA_SIRISBib)215657

AAA_collcode_santmoni

Theme:

Art organizations

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_215657

Creator:

Fuller, Diana Burgess  Search this

Names:

Fuller Goldeen Gallery  Search this

Fuller Gross Gallery  Search this

Hansen Fuller Goldeen Gallery  Search this

Hansen Galleries  Search this

Hansen-Fuller Gallery  Search this

Brown, Joan, 1938-1990  Search this

De Forest, Roy, 1930-2007  Search this

Holland, Tom, 1936-  Search this

Levine, Marilyn, 1935-2005  Search this

Wiley, William T., 1937-2021  Search this

Extent:

67.9 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1958-2004

Summary:

The Diana Fuller papers and gallery records measure 67.9 linear feet and date from 1958 to 2004. The records shed light on the operations of Hansen-Fuller Gallery, Hansen-Fuller-Goldeen Gallery, Fuller-Goldeen Gallery, and Fuller-Gross Gallery through administrative files, correspondence files, artists' files, dealer and institution files, exhibition and event files, financial records, printed materials, photographic materials, as well as some audiovisual and born digital materials. Diana Fuller's papers concern her work with the Bay Area Consortium for the Visual Arts, her book, Art/Women/California, 1950-2000: Parallels and Intersections (2002), and include scattered project files, photographic materials, and more. Also present are correspondence files, artists' files, exhibition material, and financial records generated by Arts Unlimited and Hansen Galleries.

Scope and Contents:

The Diana Fuller papers and gallery records measure 67.9 linear feet and date from 1958 to 2004. The records shed light on the operations of Hansen-Fuller Gallery, Hansen-Fuller-Goldeen Gallery, Fuller-Goldeen Gallery, and Fuller-Gross Gallery through administrative files, correspondence files, artists' files, dealer and institution files, exhibition and event files, financial records, printed materials, photographic materials, as well as some audiovisual and born digital materials. Diana Fuller's papers concern her work with the Bay Area Consortium for the Visual Arts, her book, Art/Women/California, 1950-2000: Parallels and Intersections (2002), and include scattered project files, photographic materials, and more. Also present are correspondence files, artists' files, exhibition material, and financial records generated by Arts Unlimited and Hansen Galleries.

Administrative files include job descriptions, inventories of artwork, addresses, and contact lists; papers relating to foundries, photographers, framers, and printers; advertising records, property records, travel files, and one gallery guestbook. Correspondence files document the galleries' relationship with collectors, clients, art organizations, and consultants. The files include some sales records, agreements, printed material, and photos of artwork as well. Artists' files include biographical information, artist statements, correspondence, client lists, exhibition materials, loan and consignment records, and more. Among the artists featured extensively is Beth Van Hosen, William T. Wiley, Roy DeForest, Robert Arneson, Tom Holland, Robert Hudson, Marilyn Levine, and Joan Brown.

Exhibition and event files shed light on solo and group shows held at Fuller galleries, Art Unlimited and Hansen Gallery, and outside galleries, museums, and institutions; art fairs held in the U.S. and abroad, and auctions. Files related to film screenings, tours, luncheons, and other special events held at Fuller galleries are also present. Dealer and institution files consist of correspondence, loan and consignments records, bills of sale, commission agreements and contracts, printed material, price lists, and some photographic materials. Financial records contain account ledgers, invoices and receipts, gallery checks, and sales records. Also present are donation records, appraisal reports, and some financial records from Arts Unlimited and Hansen Gallery.

Diana Fuller's papers include project files, appraisal records, membership records, correspondence, and photographic materials. Records related to the Bay Area Consortium for the Visual Arts consist of administrative records, project files, grant applications, 1989 earthquake disaster relief material, and organization finances. Files relating toParallels and Intersections and its accompanying exhibition contain artist files, author files, correspondence, publishing agreements, drafts, cassette tapes, DVDs, and more.

Arrangement:

The collection is arranged as 7 series.

Series 1: Administrative Records, 1969-1992 (Box 1-3; 2.2 linear feet)

Series 2: Correspondence Files, 1963-1993 (Box 3-8; 5.5 linear feet)

Series 3: Artists' Files, 1959-1993 (Box 8-37; 28.5 linear feet)

Series 4: Exhibition and Event Files, 1967-1993, 2001 (Box 37-45; 8.3 linear feet)

Series 5: Dealer and Institution Files, 1965-1992 (Box 45-51; 6.3 linear feet)

Series 6: Financial Records, 1958-1990 (Box 51-58, 68-70; 7.9 linear feet)

Series 7: Diana Fuller Personal and Professional Papers, 1970s-2004 (Box 58-67; 9.2 linear feet)

Biographical / Historical:

The Diana Fuller galleries were contemporary art galleries in San Francisco, California, from 1969 to 1990. During this period, the gallery changed name and ownership on several occasions: Hansen-Fuller Gallery (1969-1979), Hansen-Fuller-Goldeen Gallery (1979-1982), Fuller-Goldeen Gallery (1982-1986), and Fuller-Gross Gallery (1987-1990). The three gallerists who partnered with Fuller were Wanda Hansen, Dorothy Goldeen, and Brian Gross. Among the artists represented by Fuller galleries were Beth Van Hosen, William T. Wiley, Roy DeForest, Robert Arneson, Tom Holland, Robert Hudson, Marilyn Levine, and Joan Brown. Fuller galleries held performance and conceptual art exhibitions, music performances, screened films, and rented its space out for luncheons and other special events. The gallery also exhibited at art fairs in the U.S. and Europe.

Diana Burgess Fuller is a curator, editor, and filmmaker who was previously a gallerist and art dealer. Diana Burgess worked at Saks Fifth Avenue when she married author Blair Fuller in 1965. Around 1967, she began working for Wanda Hansen's contemporary art gallery, which changed names from Art Unlimited to Hansen Galleries (sometimes Gallery). In 1969, Fuller and Hansen opened the Hansen-Fuller Gallery. That same year, Blair Fuller and novelist Oakley Hall started the Community of Writers at Squaw Valley. Diana Fuller has been involved with Squaw Valley since its inception, and currently serves as director of its screenwriting program. Fuller continued in the retail art business for a short period after closing the gallerey in 1990. In the late 1990s, Fuller began working on the seminal exhibition and book catalog, Art/Women/California, 1950-2000: Parallels and Intersections (2002), documenting more than 90 women artists working in California in the second half of the twentieth century. Fuller was the former president of the Film Arts Foundation and former chair of the Roxie Theater; she currently serves on the board of Artists in Residence Program at Recology.

Related Materials:

Also found in the Archives of American Art is the Dorothy Goldeen Gallery records.

Provenance:

The collection was donated by Diana Fuller, 1991-1995 and 2022.

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.

Topic:

Art, Modern -- 20th century -- California -- San Francisco  Search this

Function:

Art galleries, Commercial -- California

Citation:

Diana Fuller Papers and Gallery Records, 1958-2004. 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.

Identifier:

AAA.fulldian

See more items in:

Diana Fuller papers and gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw990eb0854-d635-4089-b6e7-735e8b68cb2d

EDAN-URL:

ead_collection:sova-aaa-fulldian

Collection Creator:

Shiras, Myrna, 1936-  Search this

Extent:

0.7 Linear feet (Boxes 1-2, OV 3)

Type:

Archival materials

Date:

1954-1976

Scope and Contents:

Artworks consist of pencil drawings on tracing paper as studies for sculptures. Biographical materials include a resume and biographical sketch, and clippings regarding Shiras's wedding in 1956. Also found is a writing by Shiras entitled "A Sum of Small Vulgarities."

Early correspondence is with family and includes a note from David Shiras's mother Josefa Wilson to the Haupt family as well as a letter from David Shiras to Myrna. Correspondence from the 1970s is largely with feminist art organizations and publishing houses. Of note is a group of letters described by Shiras about Black Maria. Additional correspondence relates to Shiras's participation with the Palos Verdes Library District. Also found is a transcript for an interview with Shiras by Merrilyn Duzy in 1976.

Photographs depict Shiras, her friends, and family, many of which are labeled. Also found are photographs, slides, negatives, and photocopies of photographs of works of art. Printed material includes clippings, exhibition announcements and catalogs, and posters relating to Shiras's art career.

Collection 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.

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:

Mryna Shiras papers, 1954-1976. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received support from the Smithsonian American Women's History Initiative.

Identifier:

AAA.shirmyrn, Series 1

See more items in:

Myrna Shiras papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw915843c75-c416-4920-b9b0-888f2d14ed71

EDAN-URL:

ead_component:sova-aaa-shirmyrn-ref5

Creator:

Fleischman, Lawrence Arthur, 1925-1997  Search this

Subject:

Sellers, Charles Coleman  Search this

Ryder, Albert Pinkham  Search this

Burchfield, Charles Ephraim  Search this

Rattner, Abraham  Search this

Richardson, Edgar Preston  Search this

Richardson, Constance  Search this

Pollack, Peter  Search this

Watkins, Franklin Chenault  Search this

Bailey, Grace  Search this

Arms, John Taylor  Search this

Allston, Washington  Search this

Evergood, Philip  Search this

Eakins, Thomas  Search this

Culver, Charles B. (Charles Beach)  Search this

Bohrod, Aaron  Search this

Bailey, Truman E.  Search this

Krentzin, Earl  Search this

Gentle, Esther  Search this

Fleischman, Barbara  Search this

Marin, John  Search this

University of Michigan. Museum of Art  Search this

United States Information Agency  Search this

Whitney Museum of American Art  Search this

Archives of American Art  Search this

Kraushaar Galleries  Search this

American Federation of Arts  Search this

National Gallery of Art (U.S.)  Search this

Detroit Institute of Arts  Search this

Corcoran Gallery of Art  Search this

M. Knoedler & Co.  Search this

Kennedy Galleries  Search this

Henry Francis du Pont Winterthur Museum  Search this

Pennsylvania Academy of the Fine Arts  Search this

Philadelphia Museum of Art  Search this

Museum of Modern Art (New York, N.Y.)  Search this

Midtown Galleries (New York, N.Y.)  Search this

Milwaukee Art Center  Search this

Metropolitan Museum of Art (New York, N.Y.)  Search this

Type:

Typescripts

Photographs

Citation:

Lawrence and Barbara Fleischman papers, 1837-1984, bulk 1935-1979. Archives of American Art, Smithsonian Institution.

Topic:

Painting, American  Search this

Art patrons Michigan Detroit  Search this

Artists' studios -- Photographs  Search this

Philanthropists  Search this

Art -- Collectors and collecting -- United States  Search this

Theme:

Patronage  Search this

Record number:

(DSI-AAA_CollID)10245

(DSI-AAA_SIRISBib)213339

AAA_collcode_fleilawr

Theme:

Patronage

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_213339

Creator:

Doty, Robert M.  Search this

Names:

Akron Art Institute  Search this

Albright-Knox Art Gallery  Search this

Currier Gallery of Art  Search this

George Eastman House  Search this

Whitney Museum of American Art  Search this

Extent:

3.4 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1935-2000

bulk 1960-1992

Summary:

The Robert M. Doty papers measure 4 linear feet and date from circa 1935-2000, with the bulk of the collection dating from 1960-1992. The collection documents Doty's career as a museum curator and director, particularly his involvement with American folk art and photography, through biographical materials, correspondence, writings, artist files, and exhibition and gallery files detailing several exhibitions that Doty curated during his career. Also found are consulting and professional files, subject and research files reflecting a wide variety of research interests, professional projects, and activities, collecting records documenting Doty's personal art collecting, and printed materials related to Doty's career and interests.

Scope and Contents:

The Robert M. Doty papers measure 3.4 linear feet and date from circa 1935-2000, with the bulk of the collection dating from 1960-1992. The collection documents Doty's career as a museum curator and director, particularly his involvement with American folk art and photography through biographical material, personal and professional correspondence, writings including exhibition catalogs and notes, and consulting and professional files documenting positions working with institutions and corporations including the Empire State building's art commission and the XEROX Corporation.

Also found are artist files, exhibition and gallery records including artwork lists, photographs, prints and slides of artwork, press clippings, grant applications and miscellaneous exhibition documents which document several exhibitions that Doty curated or was invited to. Subject and research files reflect a wide variety of research interests, professional projects, and activities notably on American folk art and photography. Materials include notes, annotated articles, and news clippings. Collecting records document Doty's personal art collecting and lending to museums and galleries through loan agreements, checklists, and deeds of gift. Printed materials include news clippings, correspondence, exhibition invitations and publications, reports, slides, and photographs related to Doty's career and interests.

Arrangement:

The collection is arranged as 9 series:

Series 1: Biographical Materials, circa 1959-1992 (2 folders; Box 1)

Series 2: Correspondence, circa 1935-2000 (0.5 Linear feet; Box 1)

Series 3: Writings, circa 1959-1990 (0.3 Linear feet; Box 1)

Series 4: Artist Files, circa 1938-1997 (0.4 Linear feet; Box 1-2)

Series 5: Exhibition and Gallery Files, circa 1957-1994 (0.4 Linear feet; Box 2)

Series 6: Consulting and Professional Files, circa 1959-1985 (0.2 Linear feet; Box 2)

Series 7: Subject and Research Files, circa 1935-1992 (1.1 Linear feet; Box 2-4)

Series 8: Collecting Records, circa 1972-1992 (2 folders; Box 4)

Series 9: Printed Materials, circa 1960-2000 (0.4 Linear feet; Box 4)

Biographical / Historical:

Robert Doty (1933-1992) was a museum curator and director from Rochester, New York.

Doty received a B.A. from Harvard University in 1956 and an M.A. from the University of Rochester in 1961, where he studied the history of photography. In Rochester, he also worked at the George Eastman House, International Museum of Photography, organizing exhibitions of the work of Lewis Hine (1957), the Photo-Secession (1960) and Bill Brandt (1962). Other positions Doty held include research assistant at the Victoria and Albert Museum, (1961-1962); assistant to the director at the Albright-Knox Art Gallery, (1963-1964); and assistant to the director at the Yale University Art Gallery, (1964-1965.

Doty became associate curator of the Whitney Museum in 1966, and curator in 1970, and organized several high-profile exhibitions. These included the Whitney's first historical survey of American photography in 1974 and Contemporary Black Artists in America (1971), which generated controversy when 15 of the 75 artists withdrew to protest that Black specialists had not been consulted about selections for the exhibition. Doty left the Whitney in 1974 to become director of the Akron Art Institute until 1977. From 1977 until his retirement in 1987 Doty was director of the Currier Gallery of Art in Manchester, New Hampshire. He subsequently worked part time as the acting director of the New England College Gallery in Henniker, New Hampshire.

During his time at the Akron Art Institute and the Currier Gallery Doty dedicated significant energy and interest towards American folk art, organizing respective exhibitions at both museums: American Folk Art in Ohio Collections (1976) and By Good Hands: New Hampshire Folk Art(1989). His papers reflect this extensive research and interest. Over the course of his career Doty maintained several enduring relationships with other prominent curators and directors such as Grace M. Mayer and Beaumont Newhall. Doty also dedicated his time to several consulting projects with institutions and corporations including the Empire State building's art commission, the National Broadcasting Company (NBC), the National Endowment for the Arts, and the XEROX Corporation, and wrote and edited several exhibition essays, catalogs, and books, including books on the Photo-Secession, American photography, and the artists Will Barnet and Lewis Hine.

Provenance:

The collection was donated in 1994 by Joan Doty, Doty's wife, and in 2018 by Paul Doty, Doty's son.

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:

Art museum curators -- New York (State) -- New York  Search this

Art museum directors -- New York (State) -- New York  Search this

Citation:

Robert M. Doty papers, circa 1935-2000. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.dotyrobe

See more items in:

Robert M. Doty papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9abfbf89d-42e4-4ea9-9aa2-791e42a602d9

EDAN-URL:

ead_collection:sova-aaa-dotyrobe

Creator:

Kainen, Jacob  Search this

Kainen, Ruth Cole.  Search this

Names:

Addison Gallery of American Art  Search this

Australian National Gallery  Search this

Baltimore Museum of Art  Search this

British Museum  Search this

Brooklyn Museum  Search this

Corcoran Gallery of Art  Search this

Corcoran School of Art (Washington, D.C.)  Search this

Middendorf Gallery  Search this

National Gallery of Art (U.S.)  Search this

Smithsonian American Art Museum  Search this

Acton, David, 1953-  Search this

Agee, William C.  Search this

Berman, Avis  Search this

Broun, Elizabeth  Search this

Butler, Bryce  Search this

Cole, Phoebe  Search this

Fine, Ruth, 1941-  Search this

Fort Wayne Museum of Art  Search this

Frohlich, Newton, 1936-  Search this

Gilkey, Gordon  Search this

Gorky, Arshile, 1904-1948  Search this

Halasz, Piri  Search this

Harrison, Carol  Search this

Holden, Donald  Search this

Holladay, Wilhelmina Cole, 1922-  Search this

Hopps, Walter  Search this

Jackson, John Baptist, 1701-1780?  Search this

Jordon, Jim  Search this

Kalonyme, Louis  Search this

Lunn, Harry, 1933-1998  Search this

Morse, Peter  Search this

Nordland, Gerald  Search this

O'Connor, Francis V.  Search this

Pollack, Jerome  Search this

Powell, Richard J., 1953-  Search this

Purcell, Ann  Search this

Rand, Harry  Search this

Reynolds, Jock  Search this

Ries, Martin, 1926-  Search this

Solman, Joseph, 1909-2008  Search this

Steinberg, Leo  Search this

Taylor, Joshua Charles, 1917-  Search this

Taylor, Prentiss, 1907-1991  Search this

Tejera, V. ((Victorino))  Search this

Thornton, Valerie  Search this

Weber, Joanne  Search this

Extent:

33.3 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Diaries

Transcripts

Videotapes

Visitors' books

Lectures

Prints

Greeting cards

Interviews

Scrapbooks

Date:

1905-2009

bulk 1940-2001

Summary:

The papers of painter, printmaker, and curator Jacob Kainen measure 33.3 linear feet and date from 1905 to 2009, with the bulk of the material from 1940-2001. The bulk of the collection consists of correspondence/subject files including personal correspondence to and from friends and family members and professional correspondence and records concerning Kainen's activities as an artist, curator, teacher, and art collector. The collection also contains biographical material, writings, diaries, calendars, inventories, interview transcripts, printed material, photographs, works of art by other artists, and nine scrapbooks.

Scope and Content Note:

The papers of painter, printmaker, and curator Jacob Kainen measure 33.3 linear feet and date from 1905 to 2009, with the bulk of the material from 1940-2001. The bulk of the collection consists of correspondence/subject files including personal correspondence to and from friends and family members and professional correspondence and records concerning Kainen's activities as an artist, curator, teacher, and art collector. The collection also contains biographical material, writings, diary and journal entries, calendars, inventories, interview and "dialog" transcripts, printed material, photographs, works of art by other artists, and nine scrapbooks.

Biographical materials include items concerning Kainen's career as a curator and artist, in addition to a useful bibliography, detailed biographical outline, and a copy of an FBI report compiled on him. Also included are five videocassette recordings of Kainen.

Alphabetical correspondence/subject files comprise the bulk of the collection and include both Jacob's and Ruth's correspondence with family, friends, colleagues, artists, art critics, curators, museums, arts organizations, galleries, and many others. There is a significant amount of correspondence with David Acton, the Addison Gallery of Art and Jock Reynolds, William Agee, Australian National Gallery, Baltimore Museum of Art, Avis Berman, the British Museum, Brooklyn Museum, Elizabeth Broun and the Smithsonian American Art Museum, Bryce Butler, Pheobe Cole, the Corcoran Gallery and School of Art, Richard Field, Ruth Fine, Fort Wayne Museum of Art, Newton Frohlich, Gordon Gilkey and the Pacific Northwest College of Art, Arshile Gorky, Piri Halesz, Carol Harrison, Donald Holden, Wilhelmina Holladay, John Baptist Jackson, Jim Jordon, Lou Kantor, Harry Lunn Jr., Middendorf Gallery, National Gallery of Art, Peter Morse, Gerald Nordland, Francis O'Connor, Jerome Pollack, Richard Powell, Ann Purcell, Harry Rand, Martin Ries, Joseph Solman, Leo Steinberg, Prentiss Taylor, Victorino Tejera, Valerie Thornton, Joanne Weber, and numerous family members.

Writings are by and about Jacob Kainen. Kainen's writings include articles, lectures, exhibition catalog essays, notes, travel notebooks, short stories, poems, and written statements about his artistic motivations and justifications. There are writings about Kainen by Avis Berman, Ruth Cole Kainen, and others. The bulk of the numerous diary entries are from Ruth Cole Kainen's diaries, many of which concern Jacob and their family. There are also annotated and revised diary entries. There is one folder of diary entries and one folder of journal entries by Jacob Kainen and two dismantled journal-like notebooks. The papers include daily calendars and travel itineraries from 1972 through 2001.

The papers include transcripts of formal interviews and informal conversations with Jacob Kainen. Transcripts are of informal dinner, telephone, and general conversations between friends, colleagues, artists, and Ruth Cole Kainen. Included are conversations with Avis Berman, Walter Hopps, Harry Rand, Joshua Taylor, and several others. Many of these transcripts were also annnotated by Jacob and Ruth Kainen. Also found are numerous transcripts of more formal interviews with Kainen by art historians, art critics, and students.

There are inventories, appraisals, and lists of sold and not sold paintings, as well as color photographs of some of Kainen's works of art. Also found are inventories of the Kainens' art collection. Printed materials include Kainen's exhibition catalogs and announcements, clippings of articles by and about Jacob Kainen, and an exhibition guestbook.

Photographs are of Kainen with his family and friends, at exhibition openings, and working in his studios. Works of art by others includes handmade greeting cards, limited edition prints, and portfolios given to Jacob Kainen. Nine scrapbooks containing news clippings and exhibition publications document the entirety of Kainen's career as an artist.

Arrangement:

The Jacob Kainen papers are arranged into 11 series.

Missing Title

Series 1: Biographical Material, 1938-2001 (Boxes 1, 32; 0.8 linear feet)

Series 2: Correspondence/Subject Files, 1936-2003 (Boxes 1-12, 32-33; 11.8 linear feet)

Series 3: Writings, circa 1920s-2002 (Boxes 12-13, 33; 1.6 linear feet)

Series 4: Diaries, circa 1952-2002 (Boxes 13-18, 33-38; 10.0 linear feet)

Series 5: Calendars, 1953-2008 (Boxes 18-20, 38; 1.7 linear feet)

Series 6: Transcripts, circa 1975-1994 (Boxes 20-21, 38; 1.4 linear feet)

Series 7: Inventories, 1927-2001 (Boxes 21-22; 1.0 linear feet)

Series 8: Printed Material, 1938-2003 (Box 22, 38, OV 31; 0.6 linear feet)

Series 9: Photographs, 1905-2000 (Boxes 22-25, 38, OV 31; 3.3 linear feet)

Series 10: Works of Art by Others, 1942-2000 (Boxes 25-26, OV 31; 1.2 linear foot)

Series 11: Scrapbooks, 1936-1998 (Boxes 27-30, 38; 1.3 linear feet)

Biographical Note:

Jacob Kainen (1909-2001) was a painter, printmaker, and curator who worked primarily in Washington, D.C.

Born on December 7, 1909 in Waterbury, Connecticut, Jacob Kainen moved with his family to New York City in 1918. Kainen studied at the Pratt Institute in Brooklyn from 1927 until 1930, and at the Art Student's League. In the early 1930s, Kainen became involved in social causes and formed close friendships with the early abstractionists, including John Graham, Arshile Gorky, and Stuart Davis. He joined the Artists' Union and a contributor to its journal, Art Front, along with Stuart Davis and Harold Rosenberg. Jacob's participation in the Artists' Union was later investigated by the FBI.

From 1935 until 1942, Kainen worked for the Graphic Arts Division of the Works Progress Administration in New York City and began exhibiting with the New York School. It was during this period that he married Bertha Friedman. Jacob and Bertha had two sons together, Dan and Paul, and divorced in 1968.

In 1942, Kainen made a life-changing decision to leave New York City and move to Washington, D.C. to accept what he thought would be a temporary position as a scientific aide in the Division of Graphic Arts at the Smithsonian Institution. Kainen quickly became Assistant Curator and Curator in 1946. He served as Curator for twenty years, completely reshaping the department and building the graphic arts collection. His print exhibitions brought the work of S.W. Hayter, Josef Albers, Adja Yunkers, Louis Lozowick, Karl Schrag, José Guerrero, Louis Schanker, Werner Drewes, and Boris Margo to Washington audiences - graphic work that might not have been shown that early in the area.

1947 marked the opening of the Washington Workshop Center for the Arts, where Kainen served as a teacher and guide to several important artists, helping to make the workshop a magnet for new talent and instrumental in furthering the careers of several artists. Although Kainen taught Gene Davis and Alma Thomas and introduced Morris Louis to Leon Berkowitz, he never considered himself a member of the "Washington Color School."

In 1949, the Corcoran Gallery of Art held a retrospective of Kainen's prints and three years later Kenneth Noland organized Kainen's first painting retrospective at Catholic University. Kainen's paintings from the 1940s illustrated a shift away from social realism toward abstract expressionism. In 1956, Jacob Kainen received a grant from the American Philosophical society to conduct research in Europe for his monograph on the English woodcut artist, John Baptist Jackson. He traveled to Europe again in 1962 to study paintings and prints from the Mannerist Period.

From 1966 until 1970, Kainen worked as the Curator of prints and drawings at the National Collection of Fine Arts (now the Smithsonian American Art Museum). He married Ruth Cole in February of 1969. Kainen retired from the Smithsonian a year later to devote himself full-time to his art, but continued to serve as a special consultant to the Smithsonian American Art Museum for nineteen years. In 1971 and 1972, Kainen taught painting and the history of printmaking at the University of Maryland. A retrospective of Kainen's paintings was held in 1993 at the National Museum of American Art (SAAM).

Throughout his artistic career, Kainen experimented with different mediums and explored different styles, yet he identified himself as a painter. Jacob Kainen participated in at least twenty-five one man shows and several group exhibitions. His works are in collections across the United States and abroad, including the National Gallery of Art, the Metropolitan Museum of Art, the Art Institute of Chicago, and the British Museum. He worked in his studio up until the time of his death on March 19, 2001 at his home in Chevy Chase, Maryland.

Related Material:

Found among the holdings of the Archives of American Art is an oral history interview of Jacob Kainen conducted by Avis Berman in 1982 for the Archives' "Mark Rothko and His Times" oral history project. Also found are microfilm copies of Bertha Kainen's correspondence with Avis Berman regarding Berman's essay about Jacob Kainen.

Separated Material:

The Archives of American Art also holds microfilm of material lent for microfilming (reels 565, 2147-2149, and 2200) including correspondence, writings by Kainen, and papers relating to the Smithsonian Institution Loyalty Board's investigation of Jacob Kainen from 1942-1954. Most, but not all, of the loaned materials were included in later gifts. Loaned materials not donated at a later date remain with the lender and are not described in the container listing of this finding aid.

Provenance:

Jacob and Ruth Kainen first lent the Archives of American Art material for microfilming from 1973-1981, the bulk of which was included in the later gifts. Papers were then donated in multiple accretions between 1981-2007 by Jacob and Ruth Kainen, and in 2009 from the estate of Ruth Kainen via executor Teresa Covacevich Grana. Also in 2003, eight photographs of Jacob and Ruth Kainen were transferred from the National Portrait Gallery to the Archives of American Art.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- Washington (D.C.)  Search this

Curators -- Washington (D.C.)  Search this

Art teachers -- Washington (D.C.)  Search this

Topic:

Painting, Modern -- Washington (D.C.)  Search this

Painting, Abstract -- Washington (D.C.)  Search this

Artists' studios -- Photographs  Search this

Art -- Collectors and collecting -- Washington (D.C.)  Search this

Printmakers -- Washington (D.C.)  Search this

Genre/Form:

Photographs

Diaries

Transcripts

Videotapes

Visitors' books

Lectures

Prints

Greeting cards

Interviews

Scrapbooks

Citation:

Jacob Kainen papers, 1905-2008, bulk 1940-2001. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.kainjaco

See more items in:

Jacob Kainen papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw974ec158d-d417-4d06-931d-44a4af17ab27

EDAN-URL:

ead_collection:sova-aaa-kainjaco

Creator:

Landgren, Marchal E.  Search this

Names:

American Abstract Artists  Search this

Art Students League (New York, N.Y.)  Search this

Artists Equity Association  Search this

Contemporary Arts (Gallery)  Search this

Joseph Mitchell Gallery  Search this

Municipal Art Committee (New York, N.Y.)  Search this

Old Print Shop (New York, N.Y.)  Search this

University of Maryland at College Park  Search this

Washington, D.C.. Public Library  Search this

Abbott, Berenice, 1898-1991  Search this

Albers, Josef  Search this

Avery, Milton, 1885-1965  Search this

Beaton, Cecil Walter Hardy, Sir, 1904-  Search this

Constant, George  Search this

Cox, George Collins, 1851-1902  Search this

De Laittre, Eleanor, 1911-1998  Search this

Fitch, Clyde, 1865-1909  Search this

Force, Juliana, 1876-1948  Search this

Fruhauf, Aline, 1909-1978  Search this

Gallatin, A. E. (Albert Eugene), 1881-1952  Search this

Geist, Sidney  Search this

Gershwin, George, 1898-1937  Search this

Glackens, Ira, 1907-1990  Search this

Greene, Balcomb, 1904-1990  Search this

Harari, Hananiah, 1912-2000  Search this

Higgins, Eugene, 1874-1958  Search this

Holtzman, Harry  Search this

Hunt, William Morris, 1824-1879  Search this

Janauschek, Francesca Romana Magdalena, 1830-1904  Search this

Kane, John, 1860-1934  Search this

Kipling, Rudyard, 1865-1936  Search this

Laufman, Sidney, 1891-  Search this

Logasa, Charles, 1883-1936  Search this

Mitchell, Donald Grant, 1822-1908  Search this

Newman, Robert Loftin, 1827-1912  Search this

Orr, Elliot, 1904-1997  Search this

Portinari, Cândido, 1903-1962  Search this

Ryder, Albert Pinkham, 1847-1917  Search this

Saint-Gaudens, Augustus, 1848-1907  Search this

Sprinchorn, Carl, 1887-1971  Search this

Extent:

15.3 Linear feet

Type:

Collection descriptions

Archival materials

Christmas cards

Photographs

Scrapbooks

Sketches

Drawings

Date:

1881-circa 1982

bulk 1930-1975

Summary:

The papers of Washington, D.C. art historian, librarian, author, educator, and art consultant Marchal Landgren measure 15.3 linear feet and date from 1881 to circa 1982, with the bulk of the material dating from 1930 to 1975. Included are biographical materials, correspondence, writings and notes, professional and organization files, research projects' files, scattered personal business records, printed materials, two clippings scrapbooks, photographical materials, and scattered artwork.

Scope and Contents:

The papers of Washington, D.C. art historian, librarian, author, educator, and art consultant Marchal Landgren measure 15.3 linear feet and date from 1881 to circa 1982, with the bulk of the material dating from 1930 to 1975. Included are biographical materials, correspondence, writings and notes, professional and organization files, research projects' files, scattered personal business records, printed materials, two clippings scrapbooks, photographical materials, and scattered artwork.

Biographical material includes address cards, an appointment book, curriculum vitaes, genealogical materials, and military records. Correspondence is with artists, clients, colleagues, museums, and universities, and is predominantly professional in nature. Correspondents include Albert E. Gallatin, George Gershwin, Ira Glackens, Sidney Laufman, Elliot Orr, Candido Portinari, and Carl Sprinchorn, among others.

Writings include miscellaneous published and unpublished writings and drafts by Marchal Landgren primarily those not associated with his major research projects. These include various articles written for magazines and journals, manuscript drafts, research notes, and notebooks. There is also a file of writings by others that includes the John Mitchell Gallery Notes.

Professional and organizational files document Landgren's positions and work for educational institutions and arts organizations, including the American Abstract Artists Group, Art Students League of New York, Association of Artists Equity of Washington D. C., Contemporary Arts, D. C. Public Library, Library Journal, New York City Municipal Art Committee, Old Print Shop, Inc., and the University of Maryland, among others. These files also contain correspondence, perhaps the most notable found in the file on the American Abstract Artists Group which includes letters from Josef Albers, Eleanor de Laittre, Sidney Geist, Balcomb Greene, Hananiah Harari, and Harry Holtzman.

Well over one-half of the collection consists of files for Landgren's ongoing research projects on numerous artists and photographers, Latin American art, as well as his bibliographic reference projects. The bulk of the files cover his research, writing, and curatorial work on Robert Loftin Newman. Files are also found for Berenice Abbott, Milton Avery, George Constant, George Collins Cox, Aline Fruhauf, Eugene Higgins, William Morris Hunt, John Kane, Charles Logasa, Elliot Orr, and Albert Pinkham Ryder, among many others.

Personal business records include personal and general expense documentation and scattered exhibition price lists. Printed materials include clippings, exhibition catalogs, and miscellaneous published articles and essays. There are two scrapbooks of clippings.

There are photographs, slides, and negatives of images of Landgren, other artists and notable figures in the art world, and of artwork. Of note is a portrait photograph of Juliana Force by Cecil Beaton, one photograph by Berenice Abbott, "Barclay Street Ferry", and 14 taken by George C. Cox of Rudyard Kipling, Clyde Fitch, Augustus Saint-Gaudens, Madame Fanny Janauschek, Donald G. Mitchell, and others.

The papers also include scattered artwork, including holiday cards illustrated by artists, and sketches and drawings by other artists.

Arrangement:

This collection is arranged as 10 series.

Missing Title

Series 1: Biographical Materials, circa 1890-circa 1981 (0.2 linear feet; Box 1)

Series 2: Correspondence, circa 1930-circa 1982 (0.6 linear feet; Box 1)

Series 3: Writings and Notes, circa 1932-circa 1982 (1.2 linear feet; Boxes 1-3)

Series 4: Professional and Organizational Files, circa 1910-circa 1977 (3.4 linear feet; Boxes 3-6)

Series 5: Research Projects' Files, 1881-circa 1982 (6.9 linear feet; Boxes 6-13, 15)

Series 6: Personal Business Records, circa 1934-circa 1982 (0.4 linear feet; Box 13)

Series 7: Printed Material, circa 1927-circa 1981 (1.0 linear feet; Boxes 13-14)

Series 8: Scrapbooks, circa 1931-circa 1979 (0.2 linear feet; Boxes 14-15)

Series 9: Photographic Materials, circa 1930s-circa 1978 (0.2 linear feet; Boxes 14-15)

Series 10: Artwork, circa 1930s-circa 1940s (0.2 linear feet; Boxes 14-15)

Biographical / Historical:

Marchal E. Landgren (1907-1983) was an art historian, librarian, educator, author, and art consultant, active in New York and Washington, D. C.

As associate director and board member of Contemporary Arts, Inc. in New York, Landgren established a program for providing artists with their first solo exhibition in New York, including those of John Kane and Mark Tobey. In 1932, he directed the exhibition schedule at the New School for Social Research; and in 1935, Landgren served as the director of art activities for the New York City Municipal Art Committee where he facilitated many exhibitions over the course of five years, including Recent Paintings by Boris Aronson at Babcock Galleries in 1938.

Working as a freelance art consultant, researcher, and author, Landgren organized numerous exhibitions between 1932 and 1950 of the work of Milton Avery, George C. Cox, Elliot Orr, Robert Loftin Newman, and Albert Pinkham Ryder. He also edited several arts publications, including the Old Print Shop Portfolio, John Mitchell Gallery Notes, and arts manuscripts for Oxford University Press.

In 1939, Landgren was selected by the New York World's Fair Commision to prepare historical notes on Latin American art for the exhibition catalogs of the Latin American art exhibition. After the Fair, he continued his research on this topic and wrote several articles, as well as lecturing on Latin American painting at the Art Students League of New York, the Newark Art Club, and the National Education Association at the Boston Museum.

After serving in the U. S. Army Air Force during World War II, Landgren moved to Washington, D. C. in 1950 and began work as the arts division readers' advisor for the D. C. Public Library. For seventeen years, he built up the library's general collection of art books and created extensive files of art exhibition catalogs.

In 1967, he took a position as a bibliographic consultant for the fine arts department at the University of Maryland. He became director of the University's art gallery and of the art department museum training program. During his tenure at the University of Maryland, Landgren conducted graduate seminars in art history, edited and published exhibition catalogs, and organized exhibitions, including The Late Landscapes of William Morris Hunt in 1976.

Landgren was a visiting scholar at the Smithsonian Institution's National Collection of Fine Arts and curated an exhibition of paintings by Robert Loftin Newman held there from 1973 to 1974 and at the Tennessee Fine Arts Center in 1974.

Marchal Landgren authored two books: Years of Art: The Story of the Art Students League of New York (Robert M. McBride and Company, 1940), and Robert Loftin Newman (Smithsonian Institution Press, 1974). He was a regular reviewer of art books for the Library Journal from 1958 to 1972, and contributed reviews to Trend, Magazine of Art, and other journals. He was awarded a research grant by the American Council of Learned Societies in 1963 for his study of George C. Cox and did a great deal of research in American art and American art institutions for an unfinished manuscript. He also worked on a bibliography of art literature which he never completed.

Provenance:

The Marchal Landgren papers were donated by Landgren in 1974, and by the Landgren estate via David Huddle in 1983.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Librarians -- Washington (D.C.)  Search this

Educators -- Washington (D.C.)  Search this

Authors -- Washington (D.C.)  Search this

Art historians -- Washington (D.C.)  Search this

Art consultants -- Washington (D.C.)  Search this

Topic:

Art, American  Search this

Art, Modern -- 20th century -- United States  Search this

Genre/Form:

Christmas cards

Photographs

Scrapbooks

Sketches

Drawings

Citation:

Marchal Landgren papers, 1881-circa 1982, bulk 1930-1975. 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.

Identifier:

AAA.landmarc

See more items in:

Marchal Landgren Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw946a644a0-83cc-46a7-8c56-e9c63db0e1b4

EDAN-URL:

ead_collection:sova-aaa-landmarc

Creator:

Fleischman, Lawrence A. (Lawrence Arthur), 1925-1997  Search this

Names:

American Federation of Arts  Search this

Corcoran Gallery of Art  Search this

Detroit Institute of Arts  Search this

Henry Francis du Pont Winterthur Museum  Search this

Kennedy Galleries  Search this

Kraushaar Galleries  Search this

M. Knoedler & Co.  Search this

Metropolitan Museum of Art (New York, N.Y.)  Search this

Midtown Galleries (New York, N.Y.)  Search this

Milwaukee Art Center  Search this

Museum of Modern Art (New York, N.Y.)  Search this

National Gallery of Art (U.S.)  Search this

Pennsylvania Academy of the Fine Arts  Search this

Philadelphia Museum of Art  Search this

United States Information Agency  Search this

University of Michigan. Museum of Art  Search this

Whitney Museum of American Art  Search this

Allston, Washington, 1779-1843  Search this

Arms, John Taylor, 1887-1953  Search this

Bailey, Grace  Search this

Bailey, Truman E., 1902?-1959  Search this

Bohrod, Aaron  Search this

Burchfield, Charles Ephraim, 1893-1967  Search this

Culver, Charles B. (Charles Beach), 1908-1967  Search this

Eakins, Thomas, 1844-1916  Search this

Evergood, Philip, 1901-1973  Search this

Fleischman, Barbara  Search this

Gentle, Esther, 1900-  Search this

Krentzin, Earl, 1929-  Search this

Marin, John, 1870-1953  Search this

Pollack, Peter, 1909-1978  Search this

Rattner, Abraham  Search this

Richardson, Constance, 1905-  Search this

Richardson, Edgar Preston, 1902-1985  Search this

Ryder, Albert Pinkham, 1847-1917  Search this

Sellers, Charles Coleman, 1903-  Search this

Watkins, Franklin Chenault, 1894-1972  Search this

Extent:

4.9 Linear feet

Type:

Collection descriptions

Archival materials

Typescripts

Photographs

Date:

1837-1984

bulk 1935-1979

Summary:

The papers of art collectors, art patrons, and philanthropists Lawrence and Barbara Fleischman measure 4.9 linear feet and date from 1837 to 1984, with the bulk of the materials dating from 1935-1979. The papers are comprised mostly of correspondence with artists, museums, and arts organizations. Also found are scattered biographical materials, artists' autograph letters purchased by the Fleischmans, exhibition files, notes and writings, printed material, and photographs.

Scope and Contents:

The papers of art collectors, art patrons, and philanthropists Lawrence and Barbara Fleischman measure 4.9 linear feet and date from 1837 to 1984, with the bulk of the materials dating from 1935-1979. The papers are comprised mostly of correspondence with artists, museums, and arts organizations. Also found are scattered biographical materials, artists' autograph letters purchased by the Fleischmans, exhibition files, notes and writings, printed material, and photographs.

One folder of biographical material includes a biographical account and a certificate of appreciation from the Common Council for the City of Detroit.

The bulk of the collection is comprised of correspondence documenting the Fleischman's art related activities and interests primarily during the 1950s and 1960s. Individual correspondents include Aaron Bohrod, Charles E. Burchfield, Charles B. Culver, Philip Evergood, Earl Krentzin, John Marin, Jr., Abraham Rattner and Esther Gentle, Peter Pollack, Edgar P. and Constance Richardson, Charles Coleman Sellers, and Franklin Watkins. One letter from Charles E. Burchfield includes four etching plates used to create the color print of Hot September Wind.

Arts organizations and galleries represented in the correspondence include the American Federation of Arts, the Archives of American Art, the Arts Commission of the City of Detroit, the Corcoran Gallery of Art, the Detroit Institute of Art, Kennedy Galleries, M. Knoedler and Co., Inc., Kraushaar Galleries, the Metropolitan Museum of Art, the Midtown Galleries, the Museum of Modern Art, the National Gallery of Art, the Pennsylvania Academy of the Fine Arts, the Philadelphia Museum of Art, the School of the Society of Arts and Crafts, the United States Information Agency, the Whitney Museum of American Art, and the Winterthur Museum.

Autograph letters purchased by the Fleischmans include letters written by artists Washington Allston (addressed to Thomas Sully), Albert Pinkham Ryder, and John Taylor Arms.

Exhibition files document the various exhibitions of art work from the Lawrence and Barbara Fleischman Collection at the University of Michigan Museum of Art; the Detroit Institute of Art; in Central and South America; in Greece, Israel and Russia; and at the Milwaukee Art Center. The files contain letters, notes, printed material, and photographs.

Three folders of notes and writings include "Introduction to Earl Krentzin Catalog" by Lawrence Fleischman and "Selection of Excerpts from the Soviet Press and Radio Attacking U. S. Culture" by unidentified authors.

Scattered printed material includes miscellaneous clippings and catalogs not connected with the Exhibition Files series. There is also a book John Marin: The Man and his Work by E. M. Benson that was autographed by Marin to the Fleischmans in 1953.

Photographs include portrait photographs of Lawrence Fleischman, photographs of Lawrence and Barbara Fleischman with colleagues, of art work from the Fleischman Collection, of Truman and Grace Bailey in their studio, and a copy photograph of Thomas Eakins as a boy.

Arrangement:

The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Material, 1958 (Box 1; 1 folder)

Series 2: Correspondence, 1949-1984 (Boxes 1-4, 7; 3.8 linear feet)

Series 3: Autograph Letters, 1837-1942 (Box 4; 4 folders)

Series 4: Exhibition Files, 1953-1960 (Boxes 4-5, 7; 0.5 linear feet)

Series 5: Notes and Writings, 1957-1962 (Box 5; 3 folders)

Series 6: Printed Material, 1935-1969 (Box 5-6; 6 folders)

Series 7: Photographs, 1953-1965 (Box 6; 13 folders)

Biographical / Historical:

Lawrence Fleischman (1925-1997) of New York City was an American art collector, patron, philanthropist, and benefactor. He and his wife, Barbara Greenberg Fleischman, assembled an impressive collection of art and artifacts that they shared with the public as part of their philanthropic activities aimed at fostering a wider appreciation of the arts around the world.

Lawrence Fleischman was born on February 14, 1925 in Detroit, Michigan, the son of Stella and Arthur Fleischman, the owner of a large carpet business. He attended the Western Military Academy in Alton, Illinois, and studied engineering at Purdue University. In 1942, he interrupted his studies to volunteer for service in the U.S. Army during World War II. While serving in France, he met a doctor who further fostered Fleischman's ever growing interest in American art. Following the war, he graduated with a degree in physics from the University of Detroit. Fleischman met Barbara Greenberg in Detroit and they were married in 1948.

Beginning in the late 1940s, Fleischman established a fledgling television station, developed holdings in real estate, and began purchasing art work. Initially the Fleischmans collected undervalued 20th century American art and were friends with several artists, including John Marin, Charles Burchfield, Stuart Davis, and Ben Shahn. They also expanded the scope of their collection to include 19th century American works.

During the 1950s, Lawrence Fleischman realized how there were few American art historians and college departments, as well as a lack of primary source material. Fleischman worked with Edgar P. Richardson, then director of the Detroit Institute of Art, to raise funds and they founded the Archives of American Art at the Detroit Institute of Art in 1954. The Archives of American Art was, and still is, dedicated to the collection, preservation, and study of primary source records that document the history of the visual arts in the United States. Lawrence A. Fleischman is a founding Trustee of the AAA and served as the Chairman of the Board from 1958 to 1966. His wife, Barbara joined the Board of Trustees in 1997 and served as Chair from 2003 to 2007. She is a Trustee Emerita.

Lawrence Fleischman's business and philanthropic interests included the Arthur Fleischman Carpet Company, the Lee Plaza Hotel-Motel in Detroit, Art Adventurers, the Art School of the Society of Arts and Crafts in Detroit, the Friends of the Whitney Museum of American Art in New York, the Cultural Committee of the United States Information Agency, and the Art Commission of Detroit, which governed the Detroit Institute of Art. He also served as an officer of the Board for many of the arts-related organizations.

In 1996, the Fleischmans moved their family from Detroit to New York City, where Lawrence Fleischman became a partner in the Kennedy Galleries.

The Fleischmans philanthropic activities include generous support of the Metropolitan Museum of Art, the Detroit Institute of Art, the Cleveland Museum, the British Museum, the Vatican Museum, and lifelong support of the Archives of American Art.

Lawrence Fleischman died on January 31, 1997 in London, England. Barbara Fleischman lives in New York City and continues to be an active supporter of the visual arts.

Related Materials:

Among the Archives holdings are two oral history interviews with Lawrence A. Fleischman. The first was conducted by Paul Cummings in 1970 and the second conducted by Gail Stavitsky in 1994 . Both interviews have transcripts available.

Separated Materials:

The Archives of Art also holds microfilm of material lent for microfilming, the majority of which was later donated, except for five letters on reel D197. These include one postcard from Constance Richardson, 1956; one letter from Constance Richardson, 1957; one letter from Franklin Watkins, 1955; one letter from Lawrence Fleischman to Wilbur H. Hunter, 1960; and one letter from Richard D. Tucker, 1960. This material remains with lender and is not described in the collection container inventory.

Provenance:

The Lawrence and Barbara Fleischman papers were donated in several accretions by Lawrence and Barbara Fleischman from 1954 to 2007. Letters were also loaned for microfilming in 1965, but nearly all of them were subsequently donated.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- United States  Search this

Topic:

Painting, American  Search this

Art patrons Michigan Detroit  Search this

Artists' studios -- Photographs  Search this

Philanthropists  Search this

Art -- Collectors and collecting -- United States  Search this

Genre/Form:

Typescripts

Photographs

Citation:

Lawrence and Barbara Fleischman Papers, 1837-1984. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art.

Identifier:

AAA.fleilawr

See more items in:

Lawrence and Barbara Fleischman papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92905ad60-9c85-493f-90b7-272f1486ef69

EDAN-URL:

ead_collection:sova-aaa-fleilawr

Artist:

Edouard Vuillard, French, b. Cuiseaux, 1868–1940  Search this

Medium:

Oil on canvas

Dimensions:

25 5/8 x 21 1/4 in. (65 x 54 cm)

Type:

Painting

Date:

(1890)

Credit Line:

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of the Marion L. Ring Estate, 1987

Accession Number:

87.32

See more items in:

Hirshhorn Museum and Sculpture Garden Collection

Data Source:

Hirshhorn Museum and Sculpture Garden

GUID:

http://n2t.net/ark:/65665/py24cd36e2f-b41a-44de-9d81-1dc130fa72c0

EDAN-URL:

edanmdm:hmsg_87.32

Creator:

Amos, Emma, 1937-2020  Search this

Names:

Antioch College  Search this

Mason Gross School of the Arts (Rutgers University)  Search this

Spiral (Group of artists)  Search this

Browne, Vivian E., 1929-1993  Search this

Roth, Moira  Search this

hooks, bell, 1952-2021  Search this

Extent:

37.1 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1900-2019

Summary:

The papers of African American painter and printmaker Emma Amos measure 37.1 linear feet and date from circa 1900 to 2019. The collection documents Amos's family history, her professional life, and the intersection of her heritage and artwork. Found in the collection are biographical materials, family and inherited papers, correspondence, writings, project and exhibition files, teaching files, other professional records, personal business records, printed and photographic materials, and artwork.

Scope and Contents:

The papers of African American painter and printmaker Emma Amos measure 37.1 linear feet and date from circa 1900 to 2019. The collection documents Amos's family history, her professional life, and the intersection of her heritage and artwork. Found in the collection are biographical materials, family and inherited papers, correspondence, writings, project and exhibition files, teaching files, other professional records, personal business records, printed and photographic materials, and artwork.

Biographical materials include Amos's student records from Antioch and New York Universities, her personal Bible, resumes, and video recordings of interviews with bell hooks and Moira Roth. The Amos family and inherited papers of close family friends contain photographs, scrapbooks, correspondence, and memorabilia from Fisk University.

Correspondence is with colleagues at galleries, museums, and arts organizations regarding exhibitions, the Spiral artist group, and Amos's other professional activities, as well as her personal letters with friends and family.

Also found in the collection are writings that include drafts, published copies of essays, autobiographical writings, lecture video recordings, mock-ups of book projects, and a few writings by others. Project and exhibition files are for the television show Show of Hands (1977), The Sky's the Limit installation at IS90, Emma Amos: Paintings and Prints 1982-1992 retrospective exhibition, and the Ralph David Abernathy Memorial Project. Teaching files are from Rutgers University where she served as Chair of Visual Arts at the Mason Gross School of the Arts.

Amos's files for her other professional activities document fellowships and residencies, memberships, presentations at conferences and workshops, travel, and exhibitions she curated such as Progressions: A Cultural Legacy (1986), also co-curated by Julia Hotton and Vivian Browne, and Resisting Categories: Finding Common Ground. Personal business records include gallery files, datebooks, donation and loan records, ledgers and sales books, invoices and receipts, and studio supply records.

Printed materials contain clippings, exhibition announcements and catalogs, magazines and journals, and video recordings of the documentary Emma Amos: Action Lines featuring Amos and her artwork. Photographic materials consist of photographic prints, negatives, transparencies, photographic digital prints, slides, photographs albums, and 1 electronic disc of Amos, family and friends, parties and events, art models, snapshots, and works of art. Artwork contains mainly preparatory and source materials created and collected by Amos for use in her work.

Arrangement:

The collection is arranged as 11 series.

Series 1: Biographical Material, 1937-2012 (1.2 linear feet; Boxes 1-2, 37)

Series 2: Family and Inherited Papers, circa 1900-2017 (3.5 linear feet; Boxes 2-4, 38, OV 43)

Series 3: Correspondence, 1952-2019 (3.2 linear feet; Boxes 4-7)

Series 4: Writings, 1948-2010s (1.5 linear feet; Boxes 7-8, 42)

Series 5: Project and Exhibition Files, 1950s-2019 (8.2 linear feet; Boxes 8-16, 37, OV 45)

Series 6: Teaching Files, 1948-2013 (3.5 linear feet; Boxes 16-20, 37, OV 44)

Series 7: Other Professional Activities, circa 1960s-2018 (4.0 linear feet; Boxes 20-24, 46)

Series 8: Personal Business Records, 1960-2019 (2.0 linear feet; Boxes 24-26, OV 43)

Series 9: Printed Materials, 1908-2019 (4.5linear feet; Boxes 26-30, 39, OV 43, OV 45)

Series 10: Photographic Materials, circa 1900-2010s (3.5 linear feet; Boxes 30-33, 40)

Series 11: Artwork, circa 1940s-2010s (2.0 linear feet; Boxes 33-36, 41)

Biographical / Historical:

Emma Amos (1937-2020) was an African American painter and printmaker in New York, N.Y.

Amos was born in Atlanta, Georgia to a prominent family that had connections to Hale Woodruff, Zora Neale Hurston, and W.E.B. DuBois. Her mother, India DeLaine Amos, received a degree in anthropology from Fisk University in Tennessee and her father, Miles Green Amos, was a pharmacist and graduate of Wilberforce University in Ohio. In 1923, Miles Amos, with his uncle Moses Amos, established the Amos Drug Store which became a social and intellectual center of the neighborhood.

Amos graduated from Booker T. Washington High School at 16. She enrolled at Antioch College where she received a Bachelor of Fine Arts in 1958. During her time at Antioch, Amos would spend part of the year attending classes and the rest of the year working in cities like Washington, D.C., New York, and Chicago where she frequented the local galleries and museums. During her fourth year, she traveled to study at the London Central School of Art with Anthony Harrison. After graduating from Antioch, she returned to London to get a degree in etching in 1960. She later received a Master of Art from New York University in 1966.

At the beginning of Amos's career, she went to New York because of the lack of opportunities in Atlanta. In New York, Amos began teaching art at the Dalton School. She started working with printmakers like Robert Blackburn eventually taking a job with designer Dorothy Liebes in 1961 who she worked for until 1969. Later, Amos taught textile design at Newark School of Art. In 1980, she began teaching at the Mason Gross School of Art at Rutgers University eventually becoming Chair of the Visual Arts department. Amos retired in 2008.

Amos was a member of the influential artist collectives Spiral, Heresies, and Guerilla Girls. She was the creator and host of the WGBH television program about crafts, Show of Hands (1977-1978). She has exhibited her work in numerous exhibitions including Emma Amos, Paintings and Prints, 1982–1992 and Soul of a Nation: Art in the Age of Black Power.

Amos died in Bedford, N.H. in 2020.

Related Materials:

Also in the Archives of American Art are: Oral history interview with Emma Amos, 1968 October 3 and Oral history interview of Emma Amos, 2011 November 19-26.

Provenance:

The collection was donated in 2020 by Emma Amos as part of the Archives' African American Collecting Initiative funded by the Henry Luce Foundation.

Restrictions:

Material regarding the Guerilla Girls is access restricted; written permission is required. Contact Reference Services for more information. 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.

Occupation:

Painters -- New York (State) -- New York  Search this

Printmakers -- New York (State) -- New York  Search this

Topic:

African American painters  Search this

African American printmakers  Search this

Women painters  Search this

Women printmakers  Search this

African American artists  Search this

Women artists  Search this

Citation:

Emma Amos papers, circa 1900-2019. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.amosemma

See more items in:

Emma Amos papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw961ea519e-31d8-4638-9487-54641641d72a

EDAN-URL:

ead_collection:sova-aaa-amosemma

Creator:

Kroll, Leon, 1884-1974  Search this

Subject:

Manship, Paul  Search this

Nichols, Hobart  Search this

Sterne, Maurice  Search this

Faulkner, Barry  Search this

Bruce, Edward  Search this

Henri, Robert  Search this

Langsam, Julie  Search this

Bishop, Isabel  Search this

Glackens, William J.  Search this

Speicher, Eugene Edward  Search this

Williams, Esther  Search this

Biddle, George  Search this

Beal, Gifford  Search this

Type:

Sketchbooks

Interviews

Drawings

Citation:

Leon Kroll papers, circa 1900-1988. Archives of American Art, Smithsonian Institution.

Theme:

Sketches & Sketchbooks  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9170

(DSI-AAA_SIRISBib)211365

AAA_collcode_krolleon

Theme:

Sketches & Sketchbooks

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211365

Creator:

Women in the Arts Foundation, Inc  Search this

Names:

Navaretta, Cynthia  Search this

Roser, Ce  Search this

Skiles, Jacqueline Dean, 1937-  Search this

Weinstein, Joyce, 1931-  Search this

Zaleski, Jean  Search this

Extent:

1.8 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1971-1979

Scope and Contents:

Business correspondence; a price list for W. I. A.'s first exhibition; by-laws, agenda, minutes, and proposals; notes from meetings, for a WBAI broadcast; and notes and drafts of presentations and publications; minutes of board meetings; printed matter; material on membership, exhibitions, W. I. A. publications, and presentations for the Women's Caucus, the National Council for the Arts, and the College Art Association; a slide registry of member's art work; a file on the Coalition of Women Artists and the Women's Caucus for Art, and a "Washington" file with information on government support of women artists; newsletters, announcements, catalogs, press releases, and clippings. Women who figure prominently include Cynthia Navaretta, Ce Roser, Jacqueline Skiles, Joyce Weinstein, and Jean Zaleski.

Biographical / Historical:

Women's art organization; New York, N.Y.

Provenance:

Donated 1979 by Alice Jane Phillips, an executive coordinator of the foundation, Ce Roser, co-founder and first coordinator, Joyce Weinstein, a founder and executive coordinator, and Jean Zaleski.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.

Topic:

Women artists  Search this

Function:

Arts organizations -- New York (State)

Identifier:

AAA.womein

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e64dbd7b-121e-4851-a537-1cb033f78996

EDAN-URL:

ead_collection:sova-aaa-womein

Creator:

Midtown Galleries  Search this

Names:

Midtown-Payson Galleries  Search this

Betts, Edward H., 1920-  Search this

Bishop, Isabel, 1902-1988  Search this

Cadmus, Paul, 1904-1999  Search this

Coiner, Charles T., 1897-  Search this

Davis, Gladys Rockmore, 1901-1967  Search this

Etnier, Stephen, 1903-1984  Search this

Etting, Emlen, 1905-1993  Search this

Fiene, Ernest, 1894-  Search this

Gruskin, Alan D. (Alan Daniel), 1904-1970  Search this

Gruskin, Mary J.  Search this

Guston, Philip, 1913-1980  Search this

Hale, Nathan Cabot  Search this

Healey, Francis C.  Search this

Kingman, Dong, 1911-  Search this

Lahm, Ren'ee, 1897-1945  Search this

Magafan, Ethel, 1916-1993  Search this

Maldarelli, Oronzio, 1892-1962  Search this

Mangravite, Peppino, 1896-  Search this

Martin, Fletcher, 1904-1979  Search this

Meyer, Fred  Search this

Moller, Hans, 1905-  Search this

Nagler, Edith Kroger, 1890-1986  Search this

Nagler, Fred, 1891-1983  Search this

Palmer, William C., 1906-  Search this

Parsons, Betty  Search this

Peirce, Waldo, 1884-1970  Search this

Reinhardt, Siegfried, 1925-1984  Search this

Rosenthal, Doris Patty, 1889-1971  Search this

Saarinen, Lilian Swann, 1912-1995  Search this

Schoener, Jason  Search this

Sepeshy, Zoltan, 1898-1974  Search this

Shulkin, Anatol, 1899-1961  Search this

Simkhovitch, Simka, 1893-1949  Search this

Sokole, Miron, 1901-  Search this

Soyer, Isaac, 1902-1981  Search this

Taubes, Frederic, 1900-  Search this

Thon, William, 1906-2000  Search this

Varga, Margit, 1908-2005  Search this

Vickrey, Robert, 1926-2011  Search this

Wingate, Arline, 1906-1998  Search this

Extent:

86.82 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Video recordings

Date:

1904-1997

Summary:

The records of Midtown Galleries measure 86.82 linear feet and date from 1904 to 1997. The collection documents the operation and general administration of the business and includes artist records, exhibition material, inventories, financial records, photographs, and printed material.

Scope and Content Note:

Records of Midtown Galleries [including the addition], circa 1904-1997, comprise 86.82 linear feet on 117 microfilm reels. Records are sparse for the early years when the gallery was operated as a cooperative. As the business expanded and became profitable, recordkeeping was more systematic and thorough. Records consist of administrative correspondence, 1927-1989 and undated; exhibition records, 1934-1982 and undated; inventories and sales records, 1946-1980 and undated; financial records, 1933-1957; miscellaneous, 1934-1985 and undated; photographs, circa 1925-circa 1980; printed matter, 1932-1982 and undated; personal papers of Alan D. and Mary J. Gruskin, 1932-1983 and undated; and Papers of Francis C. Healey, 1932-1935 and undated An addition, represents scattered material, 1932-1997 and undated, that remained after the gallery closed in 1995. It includes administrative records, 1934-1995 and undated; photographs circa 1938-1988 and undated; artists records, 1932-1993 and undated; exhibitions, 1958-1993 and undated; videotapes, 1977-1988; and oversize printed matter, 1973-1977 and undated Because microfilmimg of the Midtown Galleries records was already underway when this material was received, it could not be integrated with the main portion of the collection.

Administrative correspondence is categorized as General Correspondence, Artists Correspondence, and Artists Applications. General Correspondence is with clients, collectors, museums and galleries, arts organizations, and businesses providing services to Midtown Galleries, and concerns routine business matters. Artists Correspondence contains both personal and business letters since the Gruskins were close friends of many artists represented by Midtown Galleries. Artists Applications consists of correspondence with artists seeking representation by Midtown Galleries. Both accepted and rejected artists are included in this subseries.

Exhibition records includes schedules and general correspondence about cooperative exhibitions and traveling shows. Exhibition files, arranged by title, contain correspondence concerning arrangements for each show.

Inventories include listings by artist and by warehouse location; also, lists of paintings on consignment, paintings returned to artists, loan/shipping log, and "traffic cards." Sales records include "groups totals,: artists account ledger, and sales slips.

Financial records consist of bills paid, banking records, accounting records, and tax returns with related documentation.

Miscellaneous items include manuscripts of Isabel Bishop Catalogue Raisonne and Biography by Karl Lunde and The Art of Philip Guston by Lester D. Longman. Also included are legal documents such as Act of Incorporation, partnership agreement, and leases; 32 guest registers, 1924-1985 and undated, and 15 samples of artist-designed fabrics produced by Onandoga Silk Co., 1946-1947.

Photographs of people include founders Alan D. Gruskin and Francis C. Healey, Mary J. Gruskin (Mrs. Alan D.) and many artists affiliated with Midtown Galleries. Photographs of works of art are by Midtown artists and others. Also, illustrations for Painting in the U.S.A. by Alan D. Gruskin; 2 albums of photographs of the work of Waldo Peirce, circa 1925-1930s (probably compiled by Peirce). Photographs of exhibitions include Midtown Galleries exhibitions and shows elsewhere featuring works by Midtown artists. Miscellaneous photographs include: Gruskin's Department Store (Pa.); models used by artists Julien Binford, Henry Koerner, and Doris Rosenthal; properties owned by Julien Binford and Hans Moeller; Anatol Shulkin's travel pictures of the Soviet Union; store window displays featuring Midtown artists, and fashion models at Midtown Galleries.

Printed matter includes material produced by Midtown Galleries: exhiition catalogs, 1932-1983 and undated; news releases, 1932-1983 and undated; Midtown News, 1965-1970; and miscellaneous items, 1943-1970 and undated Printed matter produced by others includes is comprised of artists files consisting mainly of newsclippings; also, articles about Midtown Galleries and the Gruskins.

Personal papers of Mary J. and Alan D. Gruskin contain biographical information, correspondence, financial records, miscellaneous items, calendars, and writings of Alan D. Gruskin. Correspondence, 1931-1970 and undated, with family and friends concerns personal business; also, letters of condolence on the death of Alan D. Gruskin, 1970. Financial records include personal finances and documentation of gifts of artwork to institutions, with appraisals and tax information. Calendars, 1939-1983, record both personal engagements and some business appointments. Writings of Alan D. Gruskin include manuscripts and drafts of columns, short stories, a screenplay, radio broadcasts, and lecture notes from courses at Harvard.

Papers of Francis C. Healey are comprised of correspondence that relates to both gallery and ersonal business. Also included are scripts and drafts for radio broadcasts, printed matter, press releases, and proposals for radio programs.

Administrative records received with the addition include general correspondence, correspondence with clients, and correspondence regarding gifts, sales and purchases. Records concerning the sale of Midtown Galleries to John Whitney Payson include Gruskin's and Payson's inventories. Also, included is a history of the gallery.

Photographs are of the Gruskins, their friends, and country house; also, views of Midtown exhibitions, openings, artists, and individual works of art.

Artists records are comprised mainly of artists files, largely containing printed matter. Among the artists records are a file of holiday cards by various artists, many with original artwork. Also included are catalogs of group shows featuring Midtown artists at other galleries

Exhibition materials include announcements, news releases, catalogs, miscellaneous printed matter, and a guest book. A small number of these items are dated after Payson's purchase of Midtown Galleries.

Videotapes of William Palmer, Isabel Bishop, and Robert Vickrey, as well as oversize printed matter relating to Midtown artists, complement the artists records.

Arrangement:

The collection is arranged into 10 series. A detailed explanation of the arrangement of each series is provided with the series descriptions. Each series is subdivided, often by record type, with categories usually arranged chronologically; exceptions are noted. Administrative correspondence (Series 1) is arranged alphabetically, as are many inventories sales records (Series 3). Photographs of people, exhibitions, and works of art (Series 6) are arranged alphabetically, as are the artists files and exhibition clippings portions of the printed matter (Series 7). The addition is described separately in Appendix A; and, wherever possible, reel and frame numbers of related materials received and filmed with the addition have been included in the main text's series descriptions.

Missing Title

Series 1: Administrative Correspondence, 1927-1989, undated (51 linear ft.)

Series 2: Exhibitions, 1932-1982, undated (4 linear feet)

Series 3: Inventories and Sales Records, 1932-1980, undated (5.3 linear ft.)

Series 4: Financial Records, 1933-1957 (3.5 linear feet)

Series 5: Miscellaneous, 1934-1985, undated (2 linear feet)

Series 6: Photographs, circa 1925-circa 1980 (6.5 linear feet)

Series 7: Printed Matter, 1932-1990, undated (7.25 linear ft.)

Series 8: Personal Papers of Alan D. and Mary J. Gruskin, 1904-1990, undated (4.5 linear feet)

Series 9: Papers of Francis C. Healey, 1932-1935, undated (0.5 linear ft.)

Series 10: Addition, 1932-1997, undated (2.5 linear feet)

Historical Note:

Alan D. Gruskin (1904-1970) hoped to become an artist, but while still a student realized that his talents were better suited to art administration than painting. Following graduation from Harvard University, he worked at a New York gallery that specialized in old masters, returning home to Pennsylvania after a year to pursue a writing career that ultimately proved unsuccessful. Gruskin returned to New York and opened Midtown Galleries at 559 Fifth Avenue in 1932. Specializing in work by living American artists, Midtown was one of a rather small number of commercial galleries in New York City that showed contemporary American art. Midtown Galleries represented academic and realist painters, and purposely avoided abstract art.

Founded during the Depression, Midtown Galleries was a shoe-string operation in its early years. Originally operated as a cooperative, Midtown Galleries' participating artists contributed to the costs and work of presenting exhibitions. Between 1932 and 1935, Gruskin served as "Art Director" of the gallery and his business partner, Francis C. Healey was "Publicity Director." Healey appears to have been responsible for weekly broadcasts on NBC radio designed to interest people in visiting the gallery. The 15-minute programs consisted of discussions with museum directors, curators, artists, writers, and musicians about a broad range of cultural topics. Copies of the scripts were offered for a dime, and the payments mailed by radio listeners bought Gruskin's meals. During this period, Gruskin lived in the gallery. After Healey's departure in 1935, Midtown Galleries ceased to be run as a cooperative.

Midtown Galleries usually represented approximately two dozen artists, and many remained with the gallery for decades. They included: Julien Binford, Isabel Bishop, Paul Cadmus, Gladys Rockmore Davis, Emlen Etting, Maurice Freedman, Dong Kingman, Oronzio Maldarelli, William C. Palmer, Waldo Peirce, Doris Rosenthal, Zoltan L. Sepeshy, Frederic Taubes, William Thon, Margit Varga, and Robert Vickrey.

Gruskin worked to educate and interest the public in American art and to promote the artists he represented. In addition to countless reviews, articles, and catalog essays, he wrote three books: Painting in the U.S.A. (1946), The Watercolors of Dong Kingman and How the Artist Works (1958), William Thon: The Artist and His Technique (1964). Gruskin advocated the use of fine art in advertising and industry, obtaining commissions for his artists and at the same time assisting clients in building corporate collections. A prime example is the Upjohn Company which, at Gruskin's urging, included reproductions of paintings in "Your Doctor Speaks," a series of public service announcements. Many of the paintings were purchased subsequently, forming the basis of the Upjohn Collection. A traveling exhibition, The Upjohn Company Collection of Contemporary American Paintings, was circulated by Midtown Galleries and featured in a Life magazine article about fine art and advertising. Another example is the fabric patterns, based on paintings by several of Midtown Galleries' artists, commissioned by the Onandoga Silk Company; the fabrics were used for dresses by popular designers, with fashion shows and window displays of paintings by the participating artists at selected department stores throughout the country. Working closely with architects and interior designers, Gruskin and Midtown Galleries were innovators in the use of domestic and business settings to showcase art with Art In Interiors, a series of exhibitions held annually between 1952 and 1961.

Midtown Galleries was a pioneer in circulating traveling exhibitions to colleges and art associations in communities distant from major art museums and commercial galleries. Beginning in 1936 and or more than 35 years, Midtown Galleries circulated 8-10 shows throughout the country each year; most were group shows organized around a theme, though occasional solo exhibitions were offered. Other important exhibitions off the premises were the Central Illinois Art Exposition, 1939, and the contemporary American art exhibition at the New York World's Fair, 1964-1965. The 1939 show organized by Gruskin for the Bloomington, Illinois, Art Association was a large exhibition of American art borrowed from a variety of institutions; the very well-publicized show was heavily attended, drawing visitors from a large area of the rural Midwest, many of whom had never visited a museum or seen original art.

Missing Title

1932 -- established as a cooperative gallery at 559 Fifth Ave. by Alan D. Gruskin (Art Director) and Francis C. Healey (Public Relations Director); Midtown Galleries presented programs on contemporary American art broadcast by NBC radio

1934-1935 -- Tudor City Art Galleries at 8 Prospect Place, New York City, featuring works by Midtown Galleries' artists and others, administered by Gruskin and Healey

1935 -- departure of Francis C. Healey; gallery moved to 605 Madison Ave.; gallery ceased to be run as a cooperative

1936 -- began traveling exhibitions to universities, museums, and regional art associations

1939 -- Central Illinois Art Exposition (Bloomington, Ill.)

1946 -- San Francisco branch opened and closed; publication of Painting in the U.S.A. by Alan D. Gruskin

1951 -- gallery moved to 17 East 57th Street

1958 -- publication of The Watercolors of Dong Kingman and How the Artist Works by Alan D. Gruskin

1962 -- gallery moved to 11 East 57th Street

1964 -- exhibition of contemporary American art at the New York World's Fair, organized by Midtown Galleries; shown in American Interiors Pavilion, this was the only exhibit of its kind at the Fair; publication of William Thon: The Artist and His Technique by Alan D. Gruskin

1966 -- loan of Midtown Galleries' records for microfilming by the Archives of American Art; this small selection, along with many other gallery records, was donated by Mary Gruskin to the Archives between 1972 and 1991, with an additional gift in 1997

1970 -- death of Alan D. Gruskin (1904-1970); Mary J. Gruskin assumes position of Director

1972 -- first portion of Midtown Galleries' records donated to the Archives of American Art by Mrs. Gruskin

1985 -- sale of Midtown Galleries to John Whitney Payson; Bridget Moore, Director, and Mary J. Gruskin, Director Emerita

1986 -- majority of Midtown Galleries' records acquired by the Archives of American Art

1990 -- name changed to Midtown-Payson Galleries; gallery moved to 745 Fifth Ave.

1991 -- additional gift of records by Mrs. Gruskin

1992 -- records arranged, described, and prepared for microfilming

1993 -- microfilming began; continued sporadically, in small segments

1995 -- Midtown-Payson Galleries closed

1997 -- additional gift of records by Mrs. Gruskin

1999 -- microfilming completed

Provenance:

Midtown Galleries loaned a small number of records consisting of news releases, 1939-1966, and exhibition schedules to the Archives of American Art for microfilming in 1966. Subsequently, Mary J. Gruskin donated this material, along with many other gallery records, to the Archives in several installments between 1972 and 1991; an additional gift was received in 1997. The portion loaned in 1966 is now integrated with the main records and has been refilmed in sequence. Unfortunately, the addition of 1997 was received in Washington, D.C. after microfilming was well underway. The addition has been microfilmed and described separately as Series 10. Wherever possible, the main text has been annotated with reel and frame numbers for related items contained in the addition.

Restrictions:

The collection is open for research. Patrons must use microfilm copy.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Art, Modern -- 20th century -- United States  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Photographs

Video recordings

Citation:

Midtown Galleries records, 1904-1997. Archives of American Art, Smithsonian Institution

Identifier:

AAA.midtgall

See more items in:

Midtown Galleries records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw914dd4711-6742-49ca-86c0-2e99aad538ea

EDAN-URL:

ead_collection:sova-aaa-midtgall

Creator:

Gallant, Mitzi  Search this

Peter A. Juley & Son  Search this

Names:

Artists Equity Association  Search this

Adler, Samuel, 1898-  Search this

Botkin, Henry, 1896-1983  Search this

Fingesten, Peter  Search this

Gross, Chaim, 1904-1991  Search this

Klonis, Stewart, 1901-1989  Search this

Kuniyoshi, Yasuo, 1889-1953  Search this

Extent:

0.4 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1948-1959

Scope and Contents:

Resumes; business letters; clippings concerning the New York chapter of Artists Equity Association, press releases and newsletters; 75 photographs of Gallant and her work; a portrait photograph of Stewart Klonis by Peter A. Juley & Son; group photographs of Artists Equity Association members, including Samuel Adler, Henry Botkin, Peter Fingesten and others and a photograph of an Artists Equity Association testimonial dinner for Yasuo Kuniyoshi at Cafe Montparnasse, N.Y.C. March 25, 1948, in honor of his retrospective exhibition at the Whitney Museum of American Art.

Biographical / Historical:

Painter; New York, N.Y.

Provenance:

Donated by Mitzi Gallant, 1979.

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.

Occupation:

Painters -- New York (State) -- New York  Search this

Topic:

Artists -- New York State -- Photographs  Search this

Women artists  Search this

Women painters  Search this

Function:

Arts organizations

Identifier:

AAA.gallmitz

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c0d603b3-a566-441d-b8bd-3610f22b40bb

EDAN-URL:

ead_collection:sova-aaa-gallmitz

Creator:

Weyhe Gallery  Search this

Names:

Galerie Alfred Flechtheim  Search this

Weyhe Art Books, Inc.  Search this

Kistler, Lynton R., , 1897-1993  Search this

Weyhe, Erhard, 1882-1972  Search this

Zigrosser, Carl, 1891-  Search this

Extent:

15.3 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Date:

1921-2014

Summary:

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.

Topic:

Prints  Search this

Printmakers  Search this

Collectors and collecting  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Scrapbooks

Citation:

Weyhe Gallery records, 1921-2014. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.weyhgall

See more items in:

Weyhe Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ceb8e591-6c02-4fb4-8091-e3d9e1a3b519

EDAN-URL:

ead_collection:sova-aaa-weyhgall

Collection Creator:

Weyhe Gallery  Search this

Container:

Box 1, Folder 23

Type:

Archival materials

Date:

1951-1957

Collection 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.

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:

Weyhe Gallery records, 1921-2014. Archives of American Art, Smithsonian Institution.

See more items in:

Weyhe Gallery records

Weyhe Gallery records / Series 1: Administrative Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98875c622-aa8a-4fbf-9ba3-1cff472532aa

EDAN-URL:

ead_component:sova-aaa-weyhgall-ref19

Creator:

Terry Dintenfass, Inc.  Search this

Names:

Art Dealers Association of America  Search this

Grace Borgenicht Gallery  Search this

Bloom, Hyman, 1913-  Search this

Cober, Alan E.  Search this

Dintenfass, Terry, 1920-  Search this

Dove, Arthur Garfield, 1880-1946  Search this

Evergood, Philip, 1901-1973  Search this

Fleischner, Richard, 1944-  Search this

Frasconi, Antonio  Search this

Goodman, Sidney  Search this

King, William, 1925-2015  Search this

Lawrence, Jacob, 1917-2000  Search this

Merkin, Richard  Search this

Pippin, Horace, 1888-1946  Search this

Suttman, Paul, 1933-1993  Search this

Tovish, Harold, 1921-2008  Search this

Extent:

22.1 Linear feet

Type:

Collection descriptions

Archival materials

Visitors' books

Date:

1947-1987

bulk 1961-1983

Summary:

The records of New York art gallery Terry Dintenfass, Inc. date from 1947 to 1987, with the bulk of the collection dating from 1961 to 1983, and measure 22.1 linear feet. The records are comprised of administrative files, correspondence, exhibition files, artists' files, and financial records.

Scope and Contents:

The records of New York art gallery Terry Dintenfass, Inc. date from 1947 to 1987, with the bulk of the collection dating from 1961 to 1983, and measure 22.1 linear feet. The records include administrative files, correspondence, exhibition files, artists' files, and financial records.

Administrative files include advertising and membership records, insurance documents, a guest book, resumes, and agreements with other corporations. Correspondence is with artists, galleries, museums, and arts organizations. There is a significant amount of correspondence regarding the Art Dealers Association of America. Exhibition files are found for numerous exhibitions to which Dintenfass either loaned art or helped to organize. There is extensive documentation of the 20 Galleries/20 Years exhibition held at the Grace Borgenicht Gallery and the Terry Dintenfass Gallery in 1982 and the "Machine Themed Shows" in 1974-1975.

Artists' files comprise the largest group of materials within the collection. Files for Hyman Bloom, Alan Cober, Arthur Dove, Philip Evergood, Richard Fleischner, Antonio Frasconi, Sidney Goodman, William King, Jacob Lawrence, Richard Merkin, Horace Pippin, Paul Suttman, and Harold Tovish bulk the largest.

Financial records contain artist expense and sales ledgers, consignment papers, invoices and receipts, as well as records for D Contemporary Paintings.

Arrangement:

The collection is arranged as 5 series.

Missing Title

Series 1: Administrative Files, 1961-1983 (1.0 linear feet; Box 1)

Series 2: Correspondence, 1961-1981 (1.0 linear feet; Boxes 1-2)

Series 3: Exhibition Files, 1962-1983 (4.5 linear feet; Boxes 2-7, OV 23)

Series 4: Artists' Files, 1947-1987 (8.5 linear feet; Boxes 7-15, OV 23)

Series 5: Financial Records, 1959-1981 (7.0 linear feet; Boxes 16-22, OV 23)

Biographical / Historical:

Terry Dintenfass, Inc. is a New York City art gallery founded in 1959 by Terry Dintenfass (1920-2004).

In 1954, Theresa "Terry" Dintenfass opened D Contemporary Paintings in Atlantic City, New Jersey. With financial backing from Armand Erpf, she moved the gallery to New York City in 1959 and changed the name to Terry Dintenfass Gallery. There, she became a protégé of Downtown Gallery owner Edith Halpert. Dintenfass was one of several notable female art dealers in the city during the 1940s-1980s among Edith Halpert, Betty Parsons, Grace Borgenicht, Antoinette Kraushaar, and others. She showed work on consignment from other dealers, and when Edith Halpert retired, Terry Dintenfass, Inc. began to represent the estate of Arthur Dove. Other notable artists represented by the gallery included social realists Philip Evergood and Robert Gwathmey, and African American painters Horace Pippin and Jacob Lawrence, whom she represented for 25 years. The gallery's stable also included William King, Sidney Goodman, Hyman Bloom, Antonio Frasconi, and others.

After Dintenfass retired in 1999, her son Andrew took over the business and continues to run the gallery today. Terry Dintenfass died in 2004 in Manhattan.

Related Materials:

Also found at the Archives of American Art is an oral history interview with Terry Dintenfass conducted by Paul Cummings on December 2, 1974-January 13, 1975 for the Archives of American Art.

Provenance:

The collection was donated in 1995 by Terry Dintenfass.

Restrictions:

Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Art, American  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Visitors' books

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.

Identifier:

AAA.terrdint

See more items in:

Terry Dintenfass, Inc. records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e485640b-ef7f-49bb-8964-fed4c50e6438

EDAN-URL:

ead_collection:sova-aaa-terrdint

Creator:

Midwest Women's Artist Conference  Search this

Subject:

Grenon, Kristin  Search this

Johnson, Johnnie  Search this

Citation:

Midwest Women's Artist Conference photographs, 1975. Archives of American Art, Smithsonian Institution.

Topic:

Women artists  Search this

Theme:

Women  Search this

Art organizations  Search this

Record number:

(DSI-AAA_CollID)7914

(DSI-AAA_SIRISBib)210082

AAA_collcode_midwwome

Theme:

Women

Art organizations

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210082