Search Results

Creator:

Perrine, Van Dearing, 1869-1955  Search this

Subject:

Chapman, A. D.  Search this

Coburn, Alvin Langdon  Search this

Perrine, Theodora Snow  Search this

Perrine, Mary  Search this

League for the Preservation of the Palisades  Search this

Type:

Scrapbooks

Citation:

Van Dearing Perrine papers, 1892-1986. Archives of American Art, Smithsonian Institution.

Topic:

Painting, American  Search this

Art -- Study and teaching -- New York (State) -- New York  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)8022

(DSI-AAA_SIRISBib)210192

AAA_collcode_perrvan

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210192

Creator:

Perrine, Van Dearing, 1869-1955  Search this

Names:

League for the Preservation of the Palisades  Search this

Perrine, Mary, 1919-1982  Search this

Perrine, Theodora Snow, 1886-1968  Search this

Photographer:

Chapman, A. D.  Search this

Coburn, Alvin Langdon, 1882-1966  Search this

Extent:

3 Linear feet ((partially microfilmed on 1 reel))

3.7 Linear feet (Addition)

1 Item (Addition: 1 rd)

Type:

Collection descriptions

Archival materials

Scrapbooks

Date:

1892-1986

Scope and Contents:

Biographical information, correspondence, writings, photographs, printed material, including clippings, exhibition and auction catalogs, monographs, and art works by Perrine and his students. A small amount of papers of Perrine's wife Theodora Snow and daughter, Mary Perrine, are also included.

REEL D23: Photos of works of art and one photo of Perrine; and catalogs, announcements, and articles about Perrine.

UNMICROFILMED: Ten biographical accounts, an award from the Carnegie Institute for "The Robbers," 1903; letters; exhibition catalogs; a scrapbook with clippings, sketches, and a photograph, 1894-1906; clippings; 2 scrapbooks of clippings, 1897-1915; bulletins and reports from art organizations concerning the League for the Preservation of the Palisades, 1893-1973; exhibition and auction catalogs; a book A FULL LIFE--THE STORY OF VAN DEARING PERRINE by Lolita L. W. Flockhart, 1939; photographs of Perrine, 1912-1950, his family, 1912-1960, his works of art, Perrine working with children, and miscellaneous photographs of a model and works of art by others; and printed material. Among the photographers are A. D. Chapman, and Alvin Langdon Coburn.

ADDITION (N.Y) Drafts of writings on art, many written in pencil (1905, n.d.); a scrapbook of Perrine's manuscript writings; a small amount of correspondence with Carlton Noyes (1903-1945); monographs, many of them presentation copies, some illustrated by Perrine, from Claude Bragdon, Isadora Duncan, J.P. Mowbray, and Carlton Noyes. Artwork includes fifty-three small pastels, crayon and pencil drawings by children who studied with Perrine during the 1940s and 1950s, fourteen large pastels, many of which were published in LET THE CHILD DRAW, one roll of twenty murals done by children, and three large pastels. Photographs are of Perrine's paintings and book illustrations, his Mt. Tremper, New York and Milburn studios, and family photographs (1905-1955, n.d.). Papers of Perrine's wife, Theodora Snow Perrine, consist of biographical material, correspondence (1933-1964), published articles, and photographs of Theodora teaching rhythmics and music to children; and a small portion of material on the Perrines' daughter, Mary Perrine, includings correspondence (1949-1953), playbills, and writings on rhythmics (ca. 1960).

Biographical / Historical:

Painter, art educator; New York, N.Y. b. 9/10/1868, Garnett, Kan.; d. 12/10, 1955, Stamford, Conn.

Provenance:

Material on reel D23 lent for microfilming 1962 by Joyce Malcolm; unmicrofilmed material donated 1985 and 2002 by Kristina Leeb-Lundberg, the executor of Perrine's daughter's estate.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Art teachers -- New York (State) -- New York  Search this

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

Topic:

Painting, American  Search this

Art -- Study and teaching -- New York (State) -- New York  Search this

Genre/Form:

Scrapbooks

Identifier:

AAA.perrvan

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e8d0e1dd-0479-46af-b409-5335a75c55a4

EDAN-URL:

ead_collection:sova-aaa-perrvan

Medium:

Bronze

Dimensions:

H x W x D: 42 x 35.2 x 27.5 cm (16 9/16 x 13 7/8 x 10 13/16 in)

Type:

Musical Instrument

Origin:

Yangzi River valley, China

Date:

ca. 1050-900 BCE

Period:

Western Zhou dynasty

Topic:

Western Zhou dynasty (ca. 1050 - 771 BCE)  Search this

China  Search this

Chinese Art  Search this

Credit Line:

Gift of Arthur M. Sackler

Accession Number:

S1987.36

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye328912bb3-6ca8-4d3c-a998-924ad0ebf3c9

EDAN-URL:

edanmdm:fsg_S1987.36

Medium:

Bronze

Dimensions:

H x W x D: 25.6 × 17.3 × 14.2 cm (10 1/16 × 6 13/16 × 5 9/16 in)

Type:

Vessel

Origin:

Anyang, probably Henan province, China

Date:

ca. 1150-1100 BCE

Period:

Late Shang dynasty, middle Anyang period

Topic:

Shang dynasty (ca. 1600 - ca. 1050 BCE)  Search this

Anyang period, Late Shang dynasty (ca. 1300 - 1050 BCE)  Search this

wine  Search this

China  Search this

Chinese Art  Search this

Credit Line:

Gift of Arthur M. Sackler

Accession Number:

S1987.38a-b

Restrictions & Rights:

Usage conditions apply

On View:

Sackler Gallery 23b: Anyang: China's Ancient City of Kings

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye3ef21b6fc-1172-4b81-a21a-b881c3929fe7

EDAN-URL:

edanmdm:fsg_S1987.38a-b

Previous owner:

Dreiser, Mary Sladek  Search this

Designer:

Playboy Enterprises, Inc.  Search this

Goddard, Marty  Search this

Adapter:

Vitullo, Louis R.  Search this

Collaborator:

Citizens Committee for Victim Assistance  Search this

Playboy Foundation  Search this

Manufacturer:

Becton, Dickinson and Company  Search this

Physical Description:

paper; wood; plastic; graphite; adhesive; cotton; ink (overall material)

Measurements:

overall, as originally housed in kit box: 1 1/4 in x 10 1/2 in x 6 1/2 in; 3.175 cm x 26.67 cm x 16.51 cm

overall, as stored in tray: 2 in x 22 in x 14 in; 5.08 cm x 55.88 cm x 35.56 cm

Object Name:

evidence collection kit, sexual assault

rape kit

Place made:

United States: Illinois, Chicago

United States: Texas, Irving

Date made:

ca 1982

Subject:

Criminology  Search this

Forensic Science  Search this

Feminism  Search this

Women's Health  Search this

Women's Rights  Search this

Women Inventors  Search this

ID Number:

2021.0107.01

Accession number:

2021-8-1-a/gg

2021.0107

Catalog number:

2021.0107.01

See more items in:

Medicine and Science: Medicine

Health & Medicine

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng4e9f99851-3b0b-4fe6-9e6e-0114ed0b6233

EDAN-URL:

edanmdm:nmah_2009657

Creator:

André Emmerich Gallery  Search this

Names:

Galerie André Emmerich  Search this

Sotheby Parke Bernet & Co.  Search this

Sotheby's (Firm)  Search this

Caro, Anthony, 1924-  Search this

Emmerich, André  Search this

Francis, Sam, 1923-1994  Search this

Frankenthaler, Helen, 1928-2011  Search this

Greenberg, Clement, 1909-1994  Search this

Hockney, David  Search this

Hofmann, Hans, 1880-1966  Search this

Louis, Morris, 1912-1962  Search this

Noland, Kenneth, 1924-2010  Search this

Olitski, Jules, 1922-2007  Search this

Pepper, Beverly  Search this

Extent:

311.4 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Visitors' books

Sound recordings

Video recordings

Scrapbooks

Etchings

Date:

circa 1929-2009

Summary:

The André Emmerich Gallery records and André Emmerich papers measure 311.4 linear feet and date from 1929 to 2009. The collection documents the business of the André Emmerich Gallery as well as André Emmerich's life and activities related to the business of selling art. Gallery records include correspondence; appointment books; administrative and subject files; exhibition files; artist files and accounts; inventory, sales, purchase, and consignment records; chronological files; financial and legal records; printed materials; original artwork; photographic and audiovisual materials. Also found are personal papers and records relating to André Emmerich. A small addition received in 2014 includes general correspondence, administrative files, exhibition files, artists' files, inventory records, consignment records, printed material, photographic materials, and André Emmerich personal papers and records.

Scope and Content Note:

The André Emmerich Gallery records and André Emmerich papers measure 311.4 linear feet and date from 1929 to 2009. The collection documents the business of the André Emmerich Gallery as well as André Emmerich's life and activities related to the business of selling art. Gallery records include correspondence; appointment books; administrative and subject files; exhibition files; artist files and accounts; inventory, sales, purchase, and consignment records; chronological files; financial and legal records; printed materials; original artwork; photographic and audiovisual materials. Also found are personal papers and records relating to André Emmerich.

The records document the gallery's daily business operations, exhibitions, and relationships with artists, dealers, clients, galleries, and museums. Artists particularly well-represented throughout the collection include Anthony Caro, Sam Francis, Helen Frankenthaler, David Hockney, Hans Hofmann, Morris Louis, Kenneth Noland, Jules Olitski, and Beverly Pepper.

Records pre-dating the gallery's establishment in 1954 are primarily newspaper and magazine clippings related to artists, personal photographs and photographs of artists, an original etching, and some of André Emmerich's personal records including biographical materials, correspondence, writings, and legal and financial records. Records post-dating the gallery's closure in 1998 are primarily residual business records related to the final disposition of artwork, clippings, photographs of André Emmerich and gallery staff, biographical materials, personal correspondence, writings, legal and financial records, and condolences received by Emmerich's wife upon his death in 2007.

Correspondence is primarily with galleries, museums and clients about business matters. Correspondence files also cover topics such as appraisals, authentications, offers of sale, artists seeking representation, image requests, job applications and recommendations. Also included are the New York gallery's copies of correspondence between the New York staff and the Zurich staff.

André Emmerich's appointment books document appointments, notes, and reminders about Emmerich's business and personal activities. Four appointment books relating to the birth of Emmerich's three sons and second marriage were kept by the family. The appointment books are access restricted and require written permission to use.

Administrative files include corporate records establishing the Andre Emmerich gallery's structure, records documenting the gallery's daily operations, advertising and publicity material, and records about the Sotheby's acquisition. There are also materials related to Top Gallant Farm, from its establishment to its closure. Travel records relate to André Emmerich's business trips and vacations along with some files on the travels of a several staff members at the gallery. Files about the operations of the Galerie André Emmerich in Zurich, Switzerland are included in the series as well.

Subject files relate to Emmerich's gallery business as well as personal and political interests, such as antiquities, art fairs and exhibitions, lecture research, art associations, and sculpture parks. There are several files on the art critic Clement Greenberg and former president of Gay Men's Health Crisis, Nathan Kolodner, who was also an art dealer and director of the Andre Emmerich Gallery.

Exhibition files contain numerous exhibition catalogs and printed materials related to exhibitions held or organized by the André Emmerich Gallery in Manhattan and Galerie André Emmerich in Zurich. The files contain materials ranging such as exhibition invitations, posters, printed materials, press releases, and guest books. Photographs of exhibitions can be found in the Photographic Materials series.

Artist files include biographical materials, clippings, correspondence, mailing lists, price lists, printed materials, and occasionally lectures, writings, and audiovisual materials for many of the artists represented or shown by André Emmerich Gallery. The General Correspondence files might contain duplicates or expanded versions of some of the correspondence. Photographs of artists can be found in the Photographic Materials series.

Artist accounts comprise account statements prepared periodically by the gallery documenting each artist's expenses and sales. Ledgers and general accounting files can be found in the Other Financial and Legal Records series.

Inventory records include inventory cards describing artwork entering and leaving the gallery and files containing various gallery inventories. Artist inventory cards, representing artists from both the New York and Zurich galleries, list the artist, title, date, media and measurements of an artwork. The cards also indicate whether the work was ultimately sold, returned to the artist, consigned, etc., and divided into categories accordingly. Inventory files show various gallery inventories.

Sales records document gallery sales and include paid invoices, records relating to Zurich sales, general sales records such as price lists and canceled sales, and Sotheby's Parke-Bernet auction reports. There are gaps in sales invoices in 1961-1964 and 1969-1971.

Purchase records include correspondence and invoices related to purchases and offers; annotated invoices for works of art bought by the gallery; André Emmerich, Inc. related purchase records; "Non-Modern" art related purchase records.

Consignment records include correspondence and consignment agreements documenting consignments to and from the André Emmerich Gallery; consignments from other galleries to André Emmerich, Inc.; and general consignment records.

Chronological files include copies of invoices or cover letters documenting the movement of artwork into and out of the gallery through sales, consignments, loans, and approvals. Records dating January through August 1968, January through March 1969, and September 1969 through July 1971 are missing.

Financial and legal records include client and partner account statements, resale and exempt organization certificates, accounting ledgers, and legal files related to disputes involving or of interest to the gallery.

Printed materials include auction catalogs and reports, books, and clippings describing André Emmerich, the galleries in New York and Zurich, Top Gallant Farm, and the art world. Also included is a large scrapbook created by the gallery containing clippings and gallery announcements dated 1955-1958. Clippings relating to particular artists can be found in the Artists Files series.

There are two pieces of original artwork in the collection. One is a 1974 print of a 1933 composite etching by Esther Dick Gottlieb, Adolphe Gottlieb, Edgar Levy, Lucille Corcos Levy, David Smith, and Dorothy Dehner Smith. The second is a 1998 lithograph by Louise Bourgeoise, called The Face of the Critic. The artist gave the lithograph as a gift in honor of Robert Hughes and the Archives of American Art and is numbered 61 out of a series of 300.

Photographic materials include prints, slides, negatives, and transparencies. Subjects include artists, André Emmerich, gallery installations, Top Gallant Farm, events, artists' studios, gallery staff, gallery space, and artwork. Photographs which show André Emmerich are indicated as such in the finding aid.

Audiovisual materials includes videocassettes and one audiocassette related to the art world. Videocassettes related to specific artists can be found in the Artists Files series. Videocassettes related to André Emmerich can be found in the André Emmerich Personal Papers and Records series. Videocassettes related to Top Gallant Farm and Sotheby's can be found in the Administrative Files series.

Personal papers and records relating to André Emmerich include biographical materials, personal correspondence, writings and lectures, and legal and financial records. The biographical materials include an address book, interviews and identifying documents. Writings include articles, edits, dissertations, lectures, etc. There are also some miscellaneous correspondence which is organized chronologically.

The small addition received in 2014 includes general correspondence, administrative files, exhibition files, artists' files, inventory records, consignment records, printed material, photographic materials, and André Emmerich personal papers and records.

Arrangement:

The collection is arranged as 19 series:

Missing Title

Series 1: General Correspondence Files, 1958-2006 (boxes 1-18, OV 314-315; 18.2 linear feet)

Series 2: André Emmerich Appointment Books, 1954-2007 (boxes 19, 325, 326; 1.7 linear feet)

Series 3: Administrative Files, 1954-2003 (boxes 20-31, 306, OV 314, OV 316-319; 11 linear feet)

Series 4: Subject Files, 1958-1967, 1971-2000 (boxes 31-32, 306, OV 318, OV 320; 2 linear feet)

Series 5: Exhibition Files, circa 1954-1998 (boxes 32-40, 306, 307, OV 318-322; 8.5 linear feet)

Series 6: Artists Files, 1929-1932, 1938-2007 (boxes 40-68, 307, 308, OV 320-323; 28 linear feet)

Series 7: Artist Accounts, 1958-1998 (boxes 68-81; 13.5 linear feet)

Series 8: Inventory Records, circa 1954-2000(boxes 82-128; 46.5 linear feet)

Series 9: Sales Records, 1959-1998 (boxes 128-168; 40 linear feet)

Series 10: Purchase Records, 1961-1966, 1972-1994 (boxes 168-170; 2 linear feet)

Series 11: Consignment Records, 1961-2002 (boxes 170-177; 7.7 linear feet)

Series 12: Chronological File of Incoming and Outgoing Artwork, 1968-1998 (boxes 178-185; 8 linear feet)

Series 13: Other Financial and Legal Records, 1956-1999 (boxes 186-202; 16.5 linear feet)

Series 14: Printed Materials, 1955-1960, 1965-2008 (boxes 202-204, 308, 309; 3 linear feet)

Series 15: Original Artwork, 1933, 1974, 1998 (box 205, 310; 0.7 linear feet (2 folders))

Series 16: Photographic Materials, circa 1930-1935, 1941-1998, circa 2005 (Boxes 205-296, 311-313, OV 324; 92.8 linear feet)

Series 17: General Audio and Video Recordings, 1985, 1990-1995 (Boxes 297-298; 1.3 linear feet)

Series 18: André Emmerich Personal Papers and Records, 1937-1940, 1946-2008 (Boxes 298-305, OV 321, OV 323; 7.7 linear feet)

Series 19: Addition to the The André Emmerich Gallery records and André Emmerich papers, 1956-2009 (Boxes 328-329, OV 330; 2.1 linear feet)

Historical Note:

André Emmerich (1924-2007) was one of America's most noted contemporary art dealers and opened the André Emmerich Gallery in New York in 1954. The gallery showcased contemporary art, particularly Color Field painting and monumental sculpture.

André Emmerich was born on October 11, 1924 in Frankfurt, Germany. From age 7 he was raised in Amsterdam before emigrating with his family to New York City in 1940. He studied at Oberlin College and developed an interest in pre-Columbian art and antiquities. After graduation, he spent ten years in Paris working as a writer and editor before returning to New York. He married Constance Emmerich and the couple had three sons, Adam, Noah, and Toby.

In 1954 Emmerich opened the André Emmerich Gallery at 18 East 77th Street and initially specialized in contemporary American and European art and pre-Columbian antiquities. In 1956, the gallery moved to 17 East 64th Street, and in 1959 to the Fuller Building at 41 East 57th Street. Emmerich wrote two books about pre-Columbian art, Art Before Columbus in 1963 and Sweat of the Sun, Tears of the Moon: Gold and Silver in Pre-Columbian Art in 1965.

In 1961, Emmerich learned that French and Company, a gallery advised by art critic Clement Greenberg, was closing its department of contemporary art. French and Company had represented Color Field painters Morris Louis, Kenneth Noland, and Jules Olitski. Emmerich immediately invited Louis and Noland to be represented by his gallery. In 1966 he extended the invitation to Olitski as well, and Helen Frankenthaler joined soon after. The gallery's reputation as one of the earliest and most important promoters of Color Field painters was launched.

In addition to Color Field painters, the gallery represented, among others, Pierre Alechinsky, Karel Appel, Milton Avery, Herbert Ferber, Sam Francis, John Graham, Al Held, David Hockney, Hans Hofmann, John Hoyland, Judy Pfaff, Miriam Schapiro, and Anne Truitt.

Until January 1983, sales of pre-Columbian art primarily went through an entity called André Emmerich Inc. (AE Inc.), while sales of contemporary went through the André Emmerich Gallery Inc. (AEG). In 1983, the two entities were merged and operated under the name André Emmerich Gallery Inc.

In 1971, Emmerich began operating a downtown gallery at 420 West Broadway, in SoHo, in space shared with Leo Castelli, Virginia Dwan, and Ileana Sonnabend. In 1972, Emmerich opened a branch of his gallery in Zurich. He incorporated the Galerie André Emmerich Gmbh primarily for the purpose of leasing gallery space in Zurich. Until February 1974, sales of Pre-Columbian art in Zurich were made by an entity called André Emmerich Gallery Inc., New York Filiale Zurich. The Galerie André Emmerich Gmbh was officially liquidated in May 1982. The Filiale was formally closed in October 1996. Galerie André Emmerich also enjoyed a short-lived joint venture with Gimpel & Hanover.

André Emmerich served as president of the Art Dealers Association of America from 1972-1974 and again from 1991-1994.

Emmerich opened a private 150 acre sculpture park, Top Gallant Farm, on his estate in Pawling, New York, in 1982, where he stored and exhibited monumental sculptures by artists his gallery represented including Anthony Caro, Beverly Pepper, Alexander Liberman, Alexander Calder, Mark di Suvero, George Rickey, and Keith Haring. David Hockney painted waves onto floor of the property's swimming pool in 1986. Emmerich operated the sculpture park until 1996.

Emmerich sold his gallery to Sotheby's in 1996. He continued to be affiliated with the gallery until Sotheby's closed the gallery in 1998. Emmerich then began work on his memoir, My Life With Art, excerpts of which have been published in Art News, the Wall Street Journal, and The New Criterion.

Andre Emmerich died in New York 2007 and is survived by his second wife, Susanne Emmerich.

Related Material:

Among the holdings of the Archives of American Art is an oral history interview with André Emmerich conducted by Mona Hadler on January 18, 1993.

Provenance:

The André Emmerich Gallery records and André Emmerich papers were donated to the Archives of American Art by André Emmerich in eight accretions between 1999 and 2002. Two additional accretions were donated by Emmerich's wife Susanne in 2008 and 2009; and by James Yohe, executive director (1990-1999), in 2009 and 2014.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.

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:

Sculpture, Abstract  Search this

Color-field painting  Search this

Art -- Economic aspects  Search this

Artists' studios -- Photographs  Search this

Function:

Art galleries, Commercial -- New York (State)

Art galleries, Commercial -- Switzerland

Genre/Form:

Photographs

Visitors' books

Sound recordings

Video recordings

Scrapbooks

Etchings

Citation:

André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Leon Levy Foundation.

Identifier:

AAA.andremmg

See more items in:

André Emmerich Gallery Records and André Emmerich Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw995f3b4aa-1b0f-46f4-8b5d-e0bf1191a740

EDAN-URL:

ead_collection:sova-aaa-andremmg

Medium:

Ink, opaque watercolor and gold on paper

Dimensions:

H x W: 40.8 x 30.1 cm (16 1/16 x 11 7/8 in)

Type:

Manuscript

Origin:

Tabriz, Iran

Date:

ca. 1330

Period:

Mongol period, Il-Khanid dynasty

Topic:

tree  Search this

Shahnama  Search this

Il-Khanid dynasty (1256 - 1353)  Search this

Alexander  Search this

naskh script  Search this

Mongol period (1220 - 1380)  Search this

Iran  Search this

Arts of the Islamic World  Search this

Credit Line:

Purchase — Charles Lang Freer Endowment

Accession Number:

F1935.23

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye377bb605e-79b3-4ea7-99f8-e9c301bac646

EDAN-URL:

edanmdm:fsg_F1935.23

Medium:

Ink, opaque watercolor and gold on paper

Dimensions:

H x W: 20.8 x 28.8 cm (8 3/16 x 11 5/16 in)

Type:

Manuscript

Origin:

Tabriz, Iran

Date:

ca. 1330

Period:

Mongol period, Il-Khanid dynasty

Topic:

peacock  Search this

Shahnama  Search this

lion  Search this

donkey  Search this

Il-Khanid dynasty (1256 - 1353)  Search this

naskh script  Search this

Mongol period (1220 - 1380)  Search this

Iran  Search this

Bahram Gur  Search this

Arts of the Islamic World  Search this

epic  Search this

ram  Search this

Credit Line:

Purchase — Charles Lang Freer Endowment

Accession Number:

F1935.24

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye360317961-f6ad-4749-9f0c-48d73858048c

EDAN-URL:

edanmdm:fsg_F1935.24

Creator:

Konti, Isidore, 1862-1938  Search this

Extent:

3.5 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Sketchbooks

Scrapbooks

Date:

circa 1879-1975

Summary:

The Isidore Konti papers measure 3.5 linear feet and date from circa 1879-1975. They illustrate his career through biographical materials, correspondence, personal business records, printed and photographic materials, and artwork.

Scope and Contents:

The Isidore Konti papers measure 3.5 linear feet and date form circa 1879-1975. Biographical material consists of Konti's resume and passport, as well as various awards and certificates. Correspondence is about sculpture projects and was written primarily by Konti's colleagues including Karl Bitter, Elliott Daingerfield, Rudolf Eickemeyer, Daniel Chester French, Charles Keck, Hermon MacNeil, Paul Manship, Frederick G. R. Roth, and Adolph Weinman. Also included are letters of condolence sent after Konti's death. Personal business records include account statements and receipts from the Gorham Company, commission contracts, copyright purchase records, and receipts from the Roman Bronze Works.

Printed material consists of the constitution and by-laws and a bulletin from the Hudson River Museum, a 1926 catalog Small Bronzes by Great Sculptors as Prizes, materials related to the Corcoran Art Gallery, and various exhibition and auction catalogs. Also included are news clippings and two scrapbooks. Photographic material includes photographs of works of art and personal photographs, as well as photographs of Isidore Konti. Also included are several scrapbooks of photographs of artwork. Artwork consists of several sketches, oil pastels, and a sketchbook by Konti. Also included are two sculptures.

Arrangement:

This collection consists of six series.

Series 1: Biographical Material, circa 1879-1929 (.2 Linear feet: Box 1, OV 7)

Series 2: Correspondence, circa 1894-1975 (.2 Linear feet: Box 1)

Series 3: Personal Business Records, circa 1900-1940 (.2 Linear feet: Box 1)

Series 4: Printed Material, circa 1898-1968 (.6 Linear feet: Boxes 1-2)

Series 5: Photographic Material, circa 1879-1959 (1.9 Linear feet: Boxes 2-6)

Series 6: Artwork, circa 1902-1974 (.4 Linear feet: Box 3, OV 8)

Biographical / Historical:

Isidore Konti (1862-1938) was a sculptor who worked primarily in New York.

Konti was born July 9, in Vienna, Austria, where he studied under Edmund Von Hellmer and Karl Kundmann. In 1886, he received a scholarship that allowed him to study in Rome for a two year period. Konti immigrated to America in 1891, where he would permanently stay. After a small period of time in New York, where he became an associate of Philip Martiny, he went to Chicago where he worked on sculptural decorations for the 1893 World's Columbian Exposition. When he completed his work, he moved to New York City where he began work as an assistant for Austrian expatriate Karl Bitter.

In 1904, Konti created the fountains of the Atlantic and Pacific for the Louisiana Purchase Exposition in St. Louis. During the following decades, he established his reputation working in the Beaux Arts tradition, befriending many of the significant sculptors of the early 20th century. Konti received many public and private commissions including historical reliefs for the Syracuse Post Office, and figures for the Pan-American Union Building, as well as several private sculpture commissions.

In 1909, he was elected to the National Academy of Design as an associate member and subsequently became a full Academician. Konti was a member of the Salmagundi Club, the Architectural League of New York, the Yonkers Art Association, The Fine Arts Federation, and the National Arts Club. In 1914, Konti settled in Yonkers, New York, where he lived the rest of his life.

Isidore Konti died on January 11, 1938, in Yonkers, New York.

Provenance:

Papers were lent for microfilming in 1977 by the Hudson River Museum. The papers were subsequently donated in 2000 by Konti's grandnephew, Richard E. Kaeyer.

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:

Sculptors -- United States  Search this

Sculptors -- New York (State)  Search this

Topic:

Decoration and ornament, Architectural -- United States  Search this

Eclecticism in architecture -- United States  Search this

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

Genre/Form:

Drawings

Sketchbooks

Scrapbooks

Citation:

Isidore Konti papers, circa 1879-1975, Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.kontisid

See more items in:

Isidore Konti papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9da24fe98-b9c9-4cb5-9683-76417444182d

EDAN-URL:

ead_collection:sova-aaa-kontisid

Collection Creator:

Konti, Isidore, 1862-1938  Search this

Extent:

.6 Linear feet (Boxes 1-2)

Type:

Archival materials

Date:

circa 1898-1968

Scope and Contents:

Printed material consists of the constitution and by-laws and a bulletin from the Hudson River Museum, a 1926 catalog Small Bronzes by Great Sculptors as Prizes, materials related to the Corcoran Art Gallery, and various exhibition and auction catalogs. Also included are news clippings and two scrapbooks containing photographs of works of art, clippings, a letter to Konti's niece, Malvina Kaeyer, from Thomas Green requesting information about a Konti bronze he owned, a 1929 blueprint of Memorial Park, photographs of the Kelahan Memorial and the Spanish-American War Monument, and two exhibition catalogs.

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:

Isidore Konti papers, circa 1879-1975, Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.kontisid, Series 4

See more items in:

Isidore Konti papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw919c3bf0a-5e9c-4d1b-9323-eef8eb076bfa

EDAN-URL:

ead_component:sova-aaa-kontisid-ref14

Collection Creator:

Konti, Isidore, 1862-1938  Search this

Container:

Box 1, Folder 30

Type:

Archival materials

Date:

circa 1914

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:

Isidore Konti papers, circa 1879-1975, Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

See more items in:

Isidore Konti papers

Isidore Konti papers / Series 4: Printed Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw965160fe4-3cf4-4576-afba-a93a0828780c

EDAN-URL:

ead_component:sova-aaa-kontisid-ref44

Collection Creator:

Amos, Emma, 1937-2020  Search this

Container:

Box 26, Folder 14

Type:

Archival materials

Date:

2007-2014

Collection Restrictions:

Material regarding the Guerrilla 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.

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:

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

See more items in:

Emma Amos papers

Emma Amos papers / Series 9: Printed Materials

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a2104215-0d49-418c-88cb-c83187d4ad5a

EDAN-URL:

ead_component:sova-aaa-amosemma-ref500

Collection Creator:

Frank Perls Gallery  Search this

Container:

Box 16, Folder 32

Type:

Archival materials

Date:

1966

Collection Restrictions:

Use of original papers requires an appointment.

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:

Frank Perls papers and Frank Perls Gallery records, circa 1920-1983, bulk 1949-1975. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Foundation.

See more items in:

Frank Perls papers and Frank Perls Gallery records

Frank Perls papers and Frank Perls Gallery records / Series 4: Subject Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw903f6674b-9641-41df-bb59-c10a00bd2c0c

EDAN-URL:

ead_component:sova-aaa-perlfran-ref475

Creator:

Davis, Gene, 1920-1985  Search this

Names:

White House (Washington, D.C.)  Search this

Baro, Gene  Search this

Colby, Carl  Search this

Davis, Douglas  Search this

Davis, Florence  Search this

Greenberg, Clement, 1909-1994  Search this

McGowin, Ed, 1938-  Search this

Naifeh, Steven, 1952-  Search this

Nordland, Gerald  Search this

North, Percy, 1945-  Search this

Seitz, William C. (William Chapin)  Search this

Thomas, Alma  Search this

Wall, Donald  Search this

Extent:

17.7 Linear feet

Type:

Collection descriptions

Archival materials

Sound recordings

Transcripts

Photographs

Interviews

Video recordings

Date:

1920-2000

bulk 1942-1990

Summary:

The papers of the artist Gene Davis measure 17.7 linear feet and date from 1920-2000, with the bulk of materials dating from 1942-1990. Papers document Davis's personal life and his career as an artist and educator, as well as his career as a journalist in the 1940s and 1950s, through biographical materials, correspondence, interviews, business records, estate records, writings by and about Gene Davis, printed materials concerning Davis's art career, personal and art-related photographs, and artwork by Davis and others.

Scope and Contents:

The papers of the artist Gene Davis measure 17.7 linear feet and date from 1920-2000, with the bulk of materials dating from 1942-1990. Papers document Davis's personal life and his career as an artist and educator, and to a lesser degree his early career as a journalist in the 1940s and 1950s, through biographical materials, correspondence, interviews, business records, estate records, writings by and about Gene Davis, printed materials concerning Davis's art career, personal and art-related photographs, and artwork by Davis and others.

Biographical materials include birth and death certificates, awards, biographical narratives by Gene Davis and others, CVs, résumés, personal documents from Davis's family and childhood, documents related to his work as a White House correspondent, documentation related to his death and memorial service, and papers for the family pets. A video documentary about Davis by Carl Colby is found on one videocassette.

Correspondence is mainly of a professional nature, and correspondents include gallery and museum curators, private art collectors, publishers, fellow artists, art educators, academics, and students. Letters document exhibitions, sales, book projects, teaching jobs, visits to studios, local art community events in the Washington, D.C. area, and other projects. Significant correspondents include Gene Baro, Douglas Davis, Clement Greenberg, Gerald Nordland, William Seitz, Alma Thomas, and Donald Wall. Interviews and lectures include sound recordings and transcripts. Many of the interviews were broadcast or published. Also found is a single lecture by Davis given in 1969 at the National Collection of Fine Arts, Smithsonian Institution, entitled "Contemporary Painting." Sound recordings are found for three of the interviews and for the lecture, on 4 sound reels and 1 sound cassette.

Business records include artwork documentation, price lists, sales records, contracts, financial and legal records, gallery and museum files documenting sales and exhibitions, records related to the construction of Davis's home studio in 1970, and a few teaching records. Estate records mainly reflect Florence Davis's efforts to document the works of her husband, and to manage their exhibition, promotion, and sale after his death in April 1985. Estate records include an inventory of artworks, documentation of gifts to museums, correspondence, legal, and financial records. Writings include notes, drafts of essays, artist statements, and articles by Davis, and many articles by others about Davis. Several of Davis's articles reflect specifically on the Washington, D.C. art scene. Also found are drafts of monographs on Davis including one by Donald Wall (1975) and one by Steven Naifeh (1982). Records of Naifeh's book also include photographs of all black and white and color plates from the published book. Among the writings are also notes and research files of Percy North, who worked on an update to Naifeh's 1982 bibliography after Davis's death.

Printed materials include annual reports of museums, published arts-related calendars, auction catalogs, brochures from organizations with which Davis had some affiliation, exhibition announcements and invitations, exhibition catalogs, magazine articles, newspaper clippings, newsletters, posters, press releases, and other published material. Photographs include personal photographs of Gene and Florence Davis and their families, portraits of Gene Davis, photographs of Gene Davis with artworks and working in the studio, Davis' art classes and students, installations of site-specific works, conceptual and video works, exhibition openings, and photographs of artwork, both installed in exhibitions and individually photographed. Found among the photographs are also four videocassettes documenting the Gene Davis retrospective as installed at the Smithsonian National Museum of American Art in 1987.

Artwork includes photographs, drawings, moving images, and documentation of conceptual art. Works by Davis include documentation of the 1969 "Giveaway" with Douglas Davis and Ed McGowin, "The Artist's Fingerprints Except for One which belongs to someone else," documentation of his "Air Displacement" happening, a short film entitled "Patricia," and a video entitled "Video Puzzle." Other moving images include four reels of film of Davis's stripe paintings, and other experiments with motion picture film and photographs.

Arrangement:

The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Material, 1930-1987 (0.6 linear feet; Boxes 1, 17)

Series 2: Correspondence, 1943-1990 (1.7 linear feet; Boxes 1-3)

Series 3: Interviews and Lectures, 1964-1983 (0.3 linear feet; Box 3)

Series 4: Business and Estate Records, 1942-1990 (1.6 linear feet; Boxes 3-5, 17, OV 20)

Series 5: Writings, 1944-1990 (2 linear feet; Boxes 5-6, 17, OV 19)

Series 6: Printed Material, 1942-1990 (5.5 linear feet; Boxes 7-11, 17-18, OV 20, FC 35-37)

Series 7: Photographs, 1920-2000 (3.8 linear feet; Boxes 11-15, 17, OV 19)

Series 8: Artwork, 1930-1985 (2.2 linear feet; Boxes 15-16, 18, FC 21-34)

Biographical / Historical:

Gene Davis (1920-1985) was a Washington, D.C.-based artist and educator who worked in a variety of media, including painting, drawing, collage, video, light sculpture, and conceptual art. Davis is best known for his vertical stripe paintings and his association with the Washington Color School.

Davis was born in 1920 in Washington, D.C. and began his career as a writer. In his twenties he wrote pulp stories and worked as a journalist, reporting for United Press International and serving as a White House correspondent for Transradio Press Service during the Truman administration. Later, he worked in public relations for the Automobile Association of America. A self-taught artist, Davis began painting while still working full-time as a writer, influenced by the prevailing abstract expressionist artists of the time, his frequent visits to the Corcoran Gallery and Phillips Collection in Washington, D.C., and by his friend and mentor, Jacob Kainen. His first one-man show was held in the lobby of the Dupont Theater in Washington in 1952. He had a drawing accepted in the Corcoran Area Show in 1953, and won several local art prizes in the 1950s. He began showing work regularly in galleries around Washington, such as the Watkins Gallery at American University, the Gres Gallery, and the Henri Gallery, and had solo exhibitions at Jefferson Place Gallery in 1959 and 1961. Many of the painters who made up what became known as the Washington Color School also showed there, including Kenneth Noland, Howard Mehring, and Sam Gilliam. In 1965, the Washington Gallery of Modern Art held a seminal exhibition entitled Washington Color Painters, which included Davis, Noland, Mehring, Morris Louis, Thomas Downing, and Paul Reed.

Davis began showing outside of Washington regularly in the 1960s, including the Poindexter and Fischbach galleries in New York City, and in several important group shows at museums such as the Museum of Modern Art, the Whitney Museum, and the San Francisco Museum of Modern Art. He had three works shown in the 1964 exhibition Post-Painterly Abstraction, organized by the influential art critic Clement Greenberg at the Los Angeles County Museum of Art. In the late 1960s, he began teaching art classes at the Corcoran School, and spent the summer of 1969 as artist in residence at Skidmore College's "Summer in Experiment" program.

Davis experimented with form continuously throughout his career, including a period of conceptual work in the late 1960s. In 1969 he participated in the "Giveaway," organized by Douglas Davis and Ed McGowin, in which multiple copies of a Davis painting were given away to invited guests in a gesture intended to subvert the art market. Davis also began experimenting with scale, creating a series of tiny paintings he called "Micro-paintings," which were exhibited at Fischbach Gallery in 1968. Around this time he also began working with film and video, recruiting models from his art classes to enact tightly choreographed movement pieces that played with rhythm and interval. Convinced by a lawyer that his videos were a liability without having obtained releases from the models, Davis destroyed all but one of his video works. The surviving video, "Video Puzzle," shows a foreshortened view of a model on the floor of a gallery spelling out a statement by Clement Greenberg at predetermined intervals.

Davis made several large-scale site-specific works using the stripe motif in public places. The first of these was created in the Bal Harbour, Florida, Neiman Marcus department store in 1970. Later works included Franklin's Footpath, executed in the road leading to the Philadelphia Museum of Art in 1972, and Niagara (1979) at ArtPark in Lewistown, NY, promoted at the time as the largest painting in the world. Interior large-scale works were created twice at the Corcoran Gallery, with Magic Circle (1975) and Ferris Wheel (1982), both executed in the museum's rotunda. Black Yo-Yo was created for the Cranbrook Academy in 1980, and Sun Sonata (1983), an illuminated wall of colored liquid-filled tubes, was created as an architectural feature of the Muscarelle Museum of Art in Williamsburg, Virginia. Plans for an unexecuted work called "Grass Painting," for a site near the Kennedy Center in Washington, D.C., were exhibited in the 1974 "Art Now" festival.

In the late 1970s and 1980s Davis consistently exhibited his work in several solo gallery shows a year, and also had numerous solo exhibitions in major museums. A major exhibition, Recent Paintings, was organized by the Walker Art Center in 1978, and traveled to the Corcoran Gallery of Art in 1979. A drawing retrospective was held at the Brooklyn Museum of art in 1983, and the same year the Washington Project for the Arts organized an exhibition entitled Child and Man: A Collaboration, featuring drawings Davis made in response to childrens' drawings. Davis died suddenly in April 1985 at the age of 65, and a major retrospective of his work was held at the Smithsonian National Museum of American Art in 1987.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Gene Davis conducted by Estill Curtis Pennington on April 23, 1981. A transcript is available on the Archives of American Art website.

Provenance:

Donated 1981 by Gene Davis and 1986 by his wife, Florence. Additional material donated 1991 and 1993 from Smithsonian American Art Museum via a bequest to them from the Gene and Florence Davis estate. Much of the 1993 addition was assembled by art historian Percy North at the request of Florence Davis. An additional folder of photographs of Davis taken in 1969 but printed in 2000 was later added to the collection.

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. 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:

Reporters and reporting -- Washington (D.C.)  Search this

Video artists -- Washington, D.C.  Search this

Conceptual artists -- Washington, D.C  Search this

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

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

Topic:

Color-field painting  Search this

Art -- Study and teaching  Search this

Artists' studios -- Photographs  Search this

Genre/Form:

Sound recordings

Transcripts

Photographs

Interviews

Video recordings

Citation:

Gene Davis papers, 1920-2000, bulk 1942-1990. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program.

Identifier:

AAA.davigene

See more items in:

Gene Davis papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90a230f67-650f-483a-acdf-50b6ca91fe59

EDAN-URL:

ead_collection:sova-aaa-davigene

Creator:

Loran, Erle, 1905-1999  Search this

Names:

Fine Arts Museums of San Francisco  Search this

Friends of Ethnic Art  Search this

San Francisco Art Institute  Search this

University of California, Berkeley -- Faculty  Search this

Bearden, Romare, 1911-1988  Search this

Cézanne, Paul, 1839-1906  Search this

Dasburg, Andrew, 1887-1979  Search this

Greenberg, Clement, 1909-1994  Search this

Haley, John, 1905-1991  Search this

Hartley, Marsden, 1877-1943  Search this

Hatfield, Dalzell, 1893-1963  Search this

Hofmann, Hans, 1880-1966  Search this

Levinson, Harry  Search this

Sabean, Samuel  Search this

Schaefer, Bertha, 1895-1971  Search this

Still, Clyfford, 1904-  Search this

Wilke, Ulfert, 1907-1987  Search this

Extent:

12.6 Linear feet

Type:

Collection descriptions

Archival materials

Watercolors

Sketches

Photographs

Writings

Date:

1912-1999

Summary:

The papers of California painter, writer, and teacher Erle Loran measure 12.6 linear feet and date from 1912 to 1991. Found are biographical materials; two linear feet of personal and professional correspondence; personal business records; writings which include extensive drafts and notes for Loran's book Cezanne's Composition; over 400 items of artwork that include watercolors, drawings, charcoal, and pastel studies; printed materials; photographs of Loran, family, and friends, and artwork; and one audio recording of a lecture by Loran on Cezanne.

Scope and Content Note:

The papers of California painter and teacher Erle Loran measure 12.6 linear feet and date from 1912 to 1991. Found are biographical materials; two linear feet of personal and professional correspondence; personal business records; writings which include extensive drafts and notes for Loran's book Cezanne's Composition; over 400 items of artwork that include watercolors, drawings, charcoal, and pastel studies; printed materials; photographs of Loran, family, and friends, and artwork; and one audio recording of a lecture by Loran on Cezanne.

Biographical materials include biographical sketches, curriculum vita, a will, notes and a notebook, and an appointment book for 1987. Also found is an anniversary invitation, a certificate from the University of California, and the Pepsi-Cola award for 1948.

Two linear feet of correspondence is with artists, critics, galleries, and universities. Correspondents inlcude Romare Bearden, Andrew Dasburg, Clement Greenberg, John Haley, Dalzell Hatfield, Hans Hofmann, Harry Levinson (president of Permanent Pigments), Sam Sabean, Bertha Schaefer, Clyfford Still, and Ulfert Wilke. There is also correspondence with the University of California.

Personal business records include exhibition files, price and consignment lists, teaching materials, University of California Press records, and records relating to the publication of his book on Cézanne. Some of these records also document Loran's involvement with the Fine Arts Museum, Friends of Ethnic Arts, and the San Francisco Art Institute. In addition, there are records related to Loran's role in a donation of forty-five paintings by Hans Hofmann to the University Art Center. Also found are materials related to Loran's activities as an art collector including sales receipts, auction catalogs, and photographs of artwork owned by Loran.

Writings by Loran include a complete manuscript version of Cézanne's Composition along with additional notes and drafts, and numerous other short essays on Cézanne's life and art. Loran's other writings include essays about Hans Hofmann, Marsden Hartley, symbology in abstract art, and contemporary art.

Loran's career as an artist is extensively documented by four linear feet of original artwork, mostly preliminary sketches. The work demonstrates a variety of techniques including watercolor, pastel, pencil, pen, gouache, and oil sketches. Content includes landscapes, portraits, fantasy scenes, urban scenes, and rural scenes.

Printed materials include extensive newsclippings from seven decades, exhibition announcements, and exhibition catalogs. Photographs are of Loran, his second wife Clyta, the Loran family, friends and colleagues, artwork, and source materials. Also found within the papers is an audio recording on cassette of a lecture by Loran on Cézanne.

Arrangement:

The collection is arranged into 8 series:

Missing Title

Series 1: Biographical Materials, 1930s-1990s (Box 1; 0.25 linear feet)

Series 2: Correspondence, 1912-1992 (Boxes 1-3; 2.0 linear feet)

Series 3: Personal Business Records, 1930s-1992 (Box 3; 0.25 linear feet)

Series 4: Writings, 1921-1999 (Boxes 3-4; 1.25 linear feet)

Series 5: Artwork, 1920s-1980s (Boxes 4-8, 13-14; 4.3 linear feet)

Series 6: Printed Material, 1925-1999 (Boxes 8-10, 14; 2.3 linear feet)

Series 7: Photographs, 1910s-1990s (Boxes 10-12, 14; 2.5 linear feet)

Series 8: Audio Recording, 1982 (Box 12; 1 folder)

Biographical Note:

California painter, writer, and teacher Erle Loran was born on October 2, 1905 in Minneapolis, Minnesota. He attended the Minneapolis School of Art and graduated in 1926. That same year, Loran won the Paris Prize from the Chaloner Foundation which enabled him to study in France for the next three years. Here, he immersed himself into the world of Paul Cezanne. He lived for two years in Cézanne's studio, meeting many who knew Cezanne, including painter Emile Bernard, and art dealer Ambroise Vollard. This experience was critical to the development of Loran's artistic vision and his later writings and lectures about Cézanne.

In 1929, Loran returned to the United States, and published the article "Cézanne's Country" in The Arts in 1930. He then spent the early 1930s in Minnesota, after returning to Minneapolis to be treated for tuberculosis. There, Loran began to paint in a regionalist style, producing landscapes and scenes of life in rural Minnesota. In 1931, Loran was given his first one-man show at the Kraushaar Gallery in New York. During the depression, Loran began teaching art and was given painting commissions as part of the federal arts programs of the WPA.

Loran moved to California in 1937 and accepted a position as professor in the art department at the University of California, Berkeley. There he taught until retiring in 1973, serving as the department's chair in the 1950s. He established a program to invite east coast artists to teach at the university, and participants included Conrad Marca-Relli and Milton Resnick. Loran's students included Jay DeFeo, Richard Diebenkorn, and Sam Francis. In 1941 Loran began to write the synthesis of his research and interpretations about Cézanne's work, culminating in his pioneering book Cézanne's Composition published in 1943 by the University of California Press.

During this period Loran associated himself with modernist Hans Hofmann. Loran's early paintings were lyrical abstractions in primary colors; however, his style constantly changed with the times. Watercolor was Loran's medium of choice because it lent itself to his often-remote plein air locations, such as the ghost towns of California and Nevada. With John Haley and Worth Ryder he formed the "Berkeley Group," whose paintings consisted of scenes of the California and southwestern landscape painted in flat, open areas of color. During the war, painting in the open became increasingly difficult and Loran transitioned from plein-air painting to studio work. Shortly thereafter he began to focus his painting on abstraction.

Loran's artwork during the 1950s consisted primarily of abstractions based on natural forms like crystal and driftwood. In 1955, he spent six weeks studying with Hans Hofmann, whom he later called, along with Cézanne, a second "great father figure." In 1960, he was instrumental in securing a gift of forty-five paintings by Hans Hofmann for Berkeley's University Art Center. In the late 1960s, his work became a fusing of Op, Pop, and Hard Edge. From this he moved to figurative painting and later to geometric designs and symbols.

Loran continued to paint throughout the rest of his life in a variety of styles, including nudes, abstractions, and landscapes. Besides being an artist and a teacher, Loran was also a lifelong collector of ethnic art who specialized in African, Asian, Native American, and pre-Columbian tribal art. Many works from his collection are presently housed at the de Young Museum in San Francisco. Loran died in 1999 in Berkeley, at the age of 93.

Related Material:

Found in the Archives of American Art is an oral history interview with Erle Loran conducted by Herschel Chipp, June 18, 1981, and a 1981 interview with Erle and Clyta Loran in the Fine Arts Museums of San Francisco Interviews With Artists collection. Also found is a letter from Loran to Richard Wattenmaker, 1975.

Separated Material:

The Archives of American Art also holds material lent for microfilming (reel 906) including photographs of artwork by Erle Loran and two clippings of reproductions of Loran's artwork. Lent materials were returned to the lender and are not described in the collection container inventory.

Provenance:

Erle Loran lent the Archives of American Art materials for microfilming and donated papers in 1975. In 1999 Mrs. Ruth Schora-Loran, Loran's widow, donated additional material, including artworks.

Restrictions:

Use of original papers requires an appointment.

Rights:

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

Occupation:

Art teachers -- California -- Berkeley  Search this

Painters -- California -- Berkeley  Search this

Topic:

Art, Abstract  Search this

Art -- Collectors and collecting -- California -- San Francisco Bay Area  Search this

Painting, Modern -- 20th century -- California -- Berkeley  Search this

Art, Modern -- 20th century  Search this

Genre/Form:

Watercolors

Sketches

Photographs

Writings

Citation:

Erle Loran Papers, 1912-1999. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by Getty Foundation.

Identifier:

AAA.loraerle

See more items in:

Erle Loran papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw925cee8b4-a8f7-4f7f-b704-bf23331c4f25

EDAN-URL:

ead_collection:sova-aaa-loraerle

Creator:

Barnet, Will, 1911-2012  Search this

Names:

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

Esther-Robles Gallery  Search this

Waddell Gallery  Search this

Barnet, Peter. Will Barnet: artist and teacher  Search this

Booth, Cameron, 1892-1980  Search this

Pearson, Henry, 1914-2006  Search this

Savelli, Angelo, 1911-  Search this

Sternberg, Harry, 1904-2001  Search this

Von Wicht, John, 1888-1970  Search this

Extent:

30.7 Linear feet

7.24 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Video recordings

Transcripts

Interviews

Visitors' books

Sound recordings

Sketches

Photographs

Date:

1897

1929-2016

Summary:

The papers of painter, printmaker, and educator Will Barnet date from 1897 and 1929-2016. The collection measures 30.7 linear feet and 7.24 gigabytes. Found within the papers are biographical material, including numerous recorded interviews of Barnet; personal and professional correspondence; writings and lectures; financial records; printed material; artwork; and photographs of Barnet, his family and friends, and his work. An addition received in 2016 includes biographical material, correspondence, writings, diaries and daybooks, gallery and exhibition files, project and professional files, printed material, and photographic material.

Scope and Contents:

The papers of painter, printmaker, and educator Will Barnet date from 1897 and 1929-2016. The collection measures 30.7 linear feet and 7.24 gigabytes. Found within the papers are biographical material, including numerous recorded interviews of Barnet; personal and professional correspondence; writings and lectures; financial records; printed material; artwork; and photographs of Barnet, his family and friends, and his work. An addition received in 2016 includes biographical material, correspondence, writings, diaries and daybooks, gallery and exhibition files, project and professional files, printed material, and photographic material.

Biographical materials consist of appointment and address books, curriculum vitae, a fellowship application, awards ceremony documentation, and numerous recorded interviews, including a 9 part interview with Kitty Gellhorn conducted over the course of two years. Only 6 of the 24 interviews have transcripts and most are found only on original audio and video recordings with no duplicate access copies.

Correspondence is primarily with Barnet's family, friends, fellow artists, and business associates discussing personal relationships, teaching and lecturing appointments, gallery sales, and exhibitions. Correspondents of note include Cameron Booth, Henry Pearson, Angelo Savelli, Harry Sternberg, Jon Von Wicht, Esther Robles Gallery, and the Waddell Gallery (formerly Grippi and Waddell).

Writings by Barnet consist of 7 essays, 45 teaching lectures, 3 notebooks, and 4 speeches. Many of the lectures and 3 of the 4 speeches exist only as audio and video recordings for which there are no transcripts or duplicate access copies. The bulk of writings by others are biographical essays and memoirs of Barnet, including a copy of Peter Barnet's dissertation, Will Barnet: Artist and Teacher. The series also includes 4 exhibition guest registers.

Personal business records include sales and teaching contracts, gift acknowledgements, and price lists.

Printed material includes auction catalogs, clippings, audio recordings, video documentaries, exhibition announcements and catalogs, newsletters, press releases, programs, and reproductions of artwork. Video documentaries of note include Artist's Eye and Lasting Impressions, both of which Barnet contributed interviews to.

Photographic materials document people, artwork, exhibition installations, and works of art. There are early photos of Barnet teaching at the Art League, as well as photos of Barnet in his studio and with friends and family. Views of exhibition installations, award ceremonies, and events mainly document solo shows and Barnet's reception after receiving the National Arts Club's Gold Medal Award.

Artwork consists of ink, pencil, and pen sketches by Will Barnet, and a drawing by Bill Smith.

The addition to the Will Barnet papers received in 2016 includes biographical material, correspondence, writings, diaries and daybooks, gallery and exhibition files, project and professional files, printed material, and photographic material. Measuring 19.7 linear feet and 7.24 gigabytes, the addition greatly expands on the original donation, particularly in the diaries and daybooks, which include entries from over five decades. Barnet's long career and professional activities are also well documented in the gallery, exhibition, project, and professional files.

Arrangement:

The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Materials, 1945-1995 (2 linear feet; Boxes 1-2, FC 34)

Series 2: Correspondence, 1940-2001 (3 linear feet; Boxes 3-5, OV 12)

Series 3: Writings, 1940-2000 (3.1 linear feet; Boxes 5-9)

Series 4: Personal Business Records, 1950-1981 (5 folders; Box 9)

Series 5: Printed Material and Publications, 1938-2001 (2.3 linear feet; Boxes 9-11)

Series 6: Photographic Materials, 1939-2001 (0.5 linear feet; Box 11, OV 12)

Series 7: Artwork, 1938-1983 (3 folders; Box 11)

Series 8: Addition to the Will Barnet Papers, 1897, 1929-2016 (19.7 linear feet; Box 13-32, OV 33; 7.24 Gigabytes; ER01-ER06)

Biographical / Historical:

Will Barnet (1911-2012) was a painter, printmaker, and educator who lived and worked in New York City.

Barnet was born in Beverly, Massachusetts to Noah and Sarahdina Barnet. After showing an early interest and affinity for art, he attended the School of the Museum of Fine Arts in Boston. In 1931, he received a scholarship to attend the Art Students League where he studied with Stuart Davis and began building his printmaking techniques. In 1935, he was appointed the League's official printer, and was given his first teaching position there the following year. In 1938, working in the style of social realism, he held his first gallery show at the Hudson Walker Gallery in Manhattan. That same year, Barnet married Mary Sinclair, with whom he had three sons.

In the 1940s and 50s, Barnet began to move away from realism and started painting domestic familial subjects in geometric abstract styles, a move influenced by Native American and modern European art. By 1953, he had divorced and was remarried to Elena Ciurlys, with whom he had a daughter. Elena and his daughter were the subject of many of his representational, dimensionally flat paintings in the 1960s and 70s. During the 60s, Barnet also returned to large scale abstract art, and moved back and forth between styles throughout the rest of his career into the 2000s.

As an educator, Barnet taught graphic arts, printmaking, composition, and painting courses at the League from 1936 to 1980, and also taught courses Cooper Union, Yale, and the Pennsylvania Academy of Fine Arts. He received numerous awards, including the first Artist's Lifetime Achievement Award given on the National Academy of Design's 175th anniversary, the College Art Association's Lifetime Achievement Award, and the 2011 National Medal of Arts.

Will Barnet died in his home in Manhattan, New York on November 13, 2012.

Related Materials:

The Archives of American Art holds three oral history interviews with Will Barnet, one conducted by Richard Baker, January 20, 1964, one by Paul Cummings, January 15, 1968, and another by Stephen Polcari on April 9, 1993. Also found are two additional related collections, a transcript of an interview by Louis Newman with Molly Barnes and Will Barnet, and Peter Barnet's research material on Will Barnet. Syracuse University holds additional papers of Will Barnet.

Separated Materials:

Also found in the Archives are papers that were lent for microfilming (reels N68-22, N69-126, and N70-48.) Most but not all of this material was included in subsequent donations, except for scattered news clippings and exhibition catalogs. The microfilm is not described in the container listing of this finding aid.

Provenance:

Will Barnet loaned his papers to the Archives of American Art for microfilming in 1968. He donated most of this material along with additional papers in several increments between 1968-2001. More papers were donated 2016 by Elena Barnet, Will Barnet's widow.

Restrictions:

Use of original papers requires an appointment. 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:

Art teachers  Search this

Topic:

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

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

Function:

Artists' studios -- New York (State)

Genre/Form:

Video recordings

Transcripts

Interviews

Visitors' books

Sound recordings

Sketches

Photographs

Citation:

Will Barnet papers, 1897, 1929-2016. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art. Funding for the preservation and transfer of motion picture film was provided by the Smithsonian Women's Committee.

Identifier:

AAA.barnwill

See more items in:

Will Barnet papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94b18a14b-ad29-43f9-ba52-836c611a4da8

EDAN-URL:

ead_collection:sova-aaa-barnwill

Collector:

Colonel C. B. Dyneley  Search this

Donor Name:

Dr. William C. Sturtevant  Search this

Length - Object:

6.5 cm

Width - Object:

4 cm

Object Type:

Mitten

Place:

Ontario / Quebec, Canada, North America

Accession Date:

6 Aug 2002

Collection Date:

1848 to 1852

Topic:

Ethnology  Search this

Accession Number:

378683

USNM Number:

E430514-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/37302b72f-58a5-41c8-bfb0-3d3bb059e164

EDAN-URL:

edanmdm:nmnhanthropology_8503644

Collection Creator:

Storrs, John Henry Bradley, 1885-1956  Search this

Container:

Box 11, Folder 32

Type:

Archival materials

Date:

1973

Collection Restrictions:

Use of original papers requires an appointment. Glass plate negatives are housed separately and not served to researchers.

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:

John Henry Bradley Storrs papers, 1890-2007, bulk 1900-1956. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

See more items in:

John Henry Bradley Storrs papers

John Henry Bradley Storrs papers / Series 6: Printed Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9be3a9271-d50b-45e9-a027-e731e60d2bde

EDAN-URL:

ead_component:sova-aaa-storjohn-ref231

Collection Creator:

Dale, Chester, b. 1883  Search this

Extent:

1.2 Linear feet (Boxes 3-4, 8, OV 9)

Type:

Archival materials

Date:

1925-circa 1972

Scope and Contents:

Catalogs are of exhibitions and of auction sales, many of which are annotated; check marks in some of the auction catalogs may indicate items bought by Dale. Several exhibition catalogs include essays and introductions by Maud Dale, including a 1929 essay on Modigliani and a 1929 essay on the Chester Dale collection, "Before Manet to Modigliani from the Chester Dale Collection."

Many of the Parrish Art Museum catalogs and announcements are for exhibitions arranged by Mary Dale in her capacity as exhibition chairman, as documented in the Parrish Art Museum correspondence in Series 2.

One 1953 folder of catalogs includes notations on "artists seen by Dale on his first visit to Spain that he found good." The series also includes bound catalogs of the Chester Dale collection in Washington, Chicago, and Philadelphia, one of which is inscribed to Mary Bullard.

New clippings consist of articles, primarily about Chester Dale, including obituaries from 1962. They include bound editions of Life Magazine articles about Dale, and a bound volume of Esquire featuring an article about Dale by Murdock Pemberton entitled "Ambassador to Art." Clippings also document people and subjects of interest to Dale.

Of note is a poster for the exhibition Douze Décors de Théâtre par Maud Dale, 1925, at Galerie J. Allard which can be seen in photographs of Dale's country residence in Series 7: Photographs.

Collection 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 copy requires advance notice.

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:

Chester Dale papers, circa 1883-2003, bulk 1920-1970. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of the Chester Dale papers is provided by The Walton Family Foundation. Funding for the reformatting of the 16mm film reel was provided by the Smithsonian Institution Women's Committee.

Identifier:

AAA.daleches, Series 5

See more items in:

Chester Dale papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a8aae468-22fd-4523-b148-cf6efac43da4

EDAN-URL:

ead_component:sova-aaa-daleches-ref53

Collection Creator:

Barnet, Will, 1911-2012  Search this

Extent:

2.3 Linear feet (Boxes 9-11)

Type:

Archival materials

Date:

1938-2001

Scope and Contents:

Printed material and publications include auction catalogs, clippings, audio recordings (2 sound cassettes), video documentaries (15 VHS videocassettes), exhibition announcements and catalogs, newsletters, press releases, programs, and reproductions of artwork. Publications also include two books, including Will Barnet, Prints 1932-1964 and Artist's Cookbook, which includes a recipe from Barnet. Documentaries of note include Artist's Eye and Lasting Impressions, both of which Barnet contributed interviews to, and an audio tour of Stuart Davis' 1992 exhibition at the Metropolitan Museum of Art.

Arrangement:

Items are arranged by document type.

Collection Restrictions:

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

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:

Will Barnet papers, 1897, 1929-2016. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art. Funding for the preservation and transfer of motion picture film was provided by the Smithsonian Women's Committee.

Identifier:

AAA.barnwill, Series 5

See more items in:

Will Barnet papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9dae97fdf-029a-4db3-ac1f-6bd48f00b029

EDAN-URL:

ead_component:sova-aaa-barnwill-ref17