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Max Beckmann papers, 1917-1954

Creator:
Beckmann, Max, 1884-1950  Search this
Subject:
Beckmann, Mathilde Q.  Search this
Type:
Photographs
Citation:
Max Beckmann papers, 1917-1954. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Germany  Search this
Educators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Theme:
Diaries  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)8879
(DSI-AAA_SIRISBib)211064
AAA_collcode_beckmax
Theme:
Diaries
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211064
Online Media:

Oral history interview with Nathan Oliveira

Interviewee:
Oliveira, Nathan, 1928-2010  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Names:
Albright, Ivan, 1897-1983  Search this
Beckmann, Max, 1884-1950  Search this
Bengston, Billy Al  Search this
Boyle, Keith  Search this
De Kooning, Willem, 1904-1997  Search this
Diebenkorn, Richard, 1922-1993  Search this
Jackson, Martha Kellogg  Search this
Oldfield, Otis, 1890-1969  Search this
Extent:
92 Pages (Transcript, 1978-1980 sessions)
28 Pages (Transcript 1981 session)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1978 Aug. 9-1981 Dec. 29
Scope and Contents:
An interview of Nathan Oliveira conducted 1978 Aug. 9-1981 Dec. 29, by Paul Karlstrom, for the Archives of American Art.
Oliveira speaks of his family background and ancestry; his childhood; his education; the development of his interest in art; working as a bookbinder; his inspirations from the old masters; studying with Max Beckmann and Otis Oldfield; his U.S. Army service; working with Richard Diebenkorn; getting established in galleries as a printmaker; teaching printmaking; his European travels; living in Illinois and its effect on his career; moving to California; and meeting and working with Martha Jackson. He recalls Billy Al Bengston, Ivan Albright, and Willem de Kooning, and discusses de Kooning's influence on him.
Oliveira also speaks of subject matter in his paintings, and his departure from and his later return to the human figure; the relationship between artist and model; the importance and persistence of the figurative tradition in American art; artists he admires. He recalls Keith Boyle and Frank Lobdell.
Biographical / Historical:
Nathan Oliveira (1928-2010) was a painter, printmaker, and sculptor from Stanford, Calif.
General:
Originally recorded on 3 sound tape reels and 2 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 5 hrs., 39 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
1978-1980 session; transcript: Transcript available on microfilm.
Occupation:
Artists' models  Search this
Topic:
Figurative art  Search this
Printmakers -- California -- Interviews  Search this
Artists' models -- California -- Interviews  Search this
Painters -- California -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.olivei78
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw973f41c6a-7f70-45ec-a356-536ec0195244
EDAN-URL:
ead_collection:sova-aaa-olivei78
Online Media:

Peter Howard Selz papers

Creator:
Selz, Peter Howard, 1919-2019  Search this
Names:
College Art Association of America  Search this
Institute of Design (Chicago, Ill.) (Faculty)  Search this
Marlborough Gallery  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Pomona College (Claremont, Calif.)  Search this
San Francisco Bay Area Rapid Transit District (Calif.)  Search this
University of California, Berkeley. University Art Museum  Search this
Baykam, Bedri, 1957-  Search this
Beckmann, Max, 1884-1950  Search this
Benton, Fletcher, 1931-  Search this
Bergman, Ciel, 1938-  Search this
Bury, Pol, 1922-2005  Search this
Calder, Alexander, 1898-1976  Search this
Chase-Riboud, Barbara  Search this
Christo, 1935-  Search this
Conner, Bruce, 1933-2008  Search this
Dubuffet, Jean, 1901-  Search this
Feininger, Lyonel, 1871-1956  Search this
Giacometti, Alberto, 1901-1966  Search this
Golub, Leon, 1922-2004  Search this
Graves, Morris, 1910-  Search this
Guston, Philip, 1913-1980  Search this
Hadzi, Dimitri, 1921-2006  Search this
Lebrun, Rico, 1900-1964  Search this
Lindner, Richard, 1901-1978  Search this
Lipchitz, Jacques, 1891-1973  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Onslow-Ford, Gordon  Search this
Paris, Harold, 1925-1979  Search this
Petlin, Irving, 1934-  Search this
Reinhardt, Ad, 1913-1967  Search this
Rothko, Mark, 1903-1970  Search this
Tinguely, Jean, 1925-  Search this
Extent:
31.5 Linear feet
0.696 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Scrapbooks
Sound recordings
Video recordings
Place:
San Francisco Bay Area (Calif.)
Date:
1929-2014
bulk 1950-2005
Summary:
The papers of art historian and writer Peter Howard Selz measure 31.5 linear feet and 0.696 GB and date from 1929 to 2018, with the bulk of the materials from 1950 to 2005. The papers document Selz's long career via correspondence, writings, professional files, project files, membership and association records, artists' research files, exhibition files, personal business records, printed and digital materials, and nine scrapbooks.
Scope and Contents:
The papers of art historian and writer Peter Howard Selz measure 31.5 linear feet and 0.696 GB and date from 1929 to 2018, with the bulk of the materials from 1950 to 2005. The papers document Selz's long career via correspondence, writings, professional files, project files, membership and association records, artists' research files, exhibition files, personal business records, printed and digital materials, and scrapbooks.

Correspondence is with colleagues, artists, museums, and galleries concerning a wide variety of topics, including exhibitions and publications. The bulk of the correspondence consists of alphabetical files (two linear feet) that includes correspondence with artists. Notable correspondents include Pol Bury, Alexander Calder, Gordon Onslow Ford, Alberto Giacometti, Morris Graves, Philip Guston, Dimitri Hadzi, Jacques Lipchitz, Georgia O'Keeffe, Ad Reinhardt, Mark Rothko, Jean Tinguely, and others. Eight additional files of chronological correspondence is with curators, arts organizations, and publishers. Additional correspondence is found in the professional files, project files, membership files, artists' research files, and exhibition files.

The bulk of the writings series is comprised of files related to Selz's books and includes typescript drafts and galleys, printed and digital material, correspondence, and publishing contracts. Files are found for Art in Our Times, Art of Engagement, Beyond the Mainstream, and Theories of Modern Art. Other writings consist of drafts of articles, essays, notes, and lectures by Selz. Also included are writings by others, including materials related to Paul Karlstrom's biography of Selz.

Professional files document curatorial and teaching positions at the Chicago Institute of Design, Pomona College, University of California, Berkeley, and the Museum of Modern Art. The series includes contracts, recommendations, syllabi, and correspondence.

Project files document Selz's professional work on specific art projects, panels, and symposiums. There is extensive documentation of Selz's work as project director of Christo's Running Fence, as well as other environmental art work projects by Christo, the Berkeley Art Project, Disney Art Project, "Funk Art" symposium, and the "Art and Politics in the 20th Century" symposium. Project files contain a wide variety of materials, such as correspondence, printed material, financial records, reports, photographs, and other documents. There are 2 tape reels, 1 VHS, and 1 sound cassette.

Membership and association records document Selz's involvement with or membership in various art councils, trustee boards, such as the College Art Association, Art in Chicago Advisory Committee, Bay Area Rapid Transit (B.A.R.T.) Art Council, and the San Francisco Crafts and Folk Art Museum Advisory Board, among others. Materials include meeting minutes, bulletins, correspondence, and memoranda.

Artists' Research Files consist of a wide variety of research materials Selz compiled about artists for lectures, writings, projects, exhibitions, etc. Files vary and may include original and photocopied correspondence, photographic material, resumes, printed and digital material, and writings. There is also 1 sound cassette. Files are found for Bedri Baykam, Max Beckmann, Fletcher Benton, Ciel Bergman, Barbara Chase-Riboud, Bruce Conner, Jean Dubuffet, Lyonel Feininger, Leon Golub, Dimitri Hadzi, Rico Lebrun, Harold Paris, Irving Petlin, among many others.

Exhibition files include catalogs, reviews, clippings, writings, correspondence, and other material documenting exhibitions organized by Selz. Limited materials are found for the MOMA Art Nouveau exhibition. More extensive documentation is found for Seven Decades of Modern Art, 1895-1965, The Joint Show (1967), The American Presidency in Political Cartoons (1976), American Modern Art Between the Two World Wars (1979), German Realism in the Twenties: Artist As Social Critic (1980), Twelve Artists from the German Democratic Republic (1989), a Richard Lindner Retrospective (1996), Spaces of Nature (1999), Color and Fire: Defining Moments in Studio Ceramics, 1950-2000 (2000), and a Nathan Oliviera Retrospective (2002), among others. Some of the materials are in digital format.

Personal business records are related to the Mark Rothko estate and Kate Rothko's legal case against Marlborough Gallery, Inc. Also included in this series are Peter Selz's school transcripts, bequests, royalty statements, house designs, and other material.

Printed materials include clippings, prints of articles written by Peter Selz, exhibition announcements and invitations, and photocopies of artwork images.

There are nine disbound scrapbooks dating from the 1940s up through 2012 containing clippings, exhibition announcements, and photographs of art events, Selz, and artists. This series also includes materials from the 2018 addition that may have previously been compiled in binders.
Arrangement:
This collection is arranged as 10 series. When possible the original order of Peter Selz was maintained. However, multiple accessions were merged and integrated.

Missing Title

Series 1: Correspondence, 1942-2013 (2.3 linear feet; Box 1-3, Box 37)

Series 2: Writings, 1942- circa 2014 (8.3 linear feet; Box 3-10, OV 32, Box 37, 0.035 GB; ER01, ER12)

Series 3: Professional Files, 1949-2012 (1 linear feet; Box 11, Box 37)

Series 4: Project Files, 1962-2015 (2.8 linear feet; Box 12-14, OV 33, Box 37)

Series 5: Membership and Association Records, 1958-2014 (1.1 linear feet; Box 14-15, Box 37)

Series 6: Artists' Research Files, 1955-2014 (7.9 linear feet; Box 15-22, OV 34-35, 0.520 GB; ER02-ER08)

Series 7: Exhibition Files, 1959-2014 (5.2 linear feet; Box 23-27, Box 38, 0.093 GB; ER09-ER11)

Series 8: Personal Business Records, 1929-2014 (1.2 linear feet; Box 28-29, OV 36, Box 38)

Series 9: Printed Material, 1957-2014 (0.3 linear feet; Box 29, Box 38)

Series 10: Scrapbooks, 1947-2018 (1.4 linear feet, Box 29-31, Box 38)
Biographical / Historical:
Peter Howard Selz (1919-2019) was a pioneering historian of modern art, professor, and writer who taught at the University of California, Berkeley, from 1965-1988 and founded and directed the Berkeley Art Museum from 1965-1973.

Selz was born in 1919 in Munich, Germany to Eugene Selz and Edith Drey Selz. In 1936, the family fled Nazi Germany and immigrated to the United States. Selz attended Columbia University from 1937 to 1938 and became a naturalized citizen in 1942. During World War II, Selz served in the U.S. Army in the Office of Strategic Services. He married writer Thalia Cheronis in 1948 but they later divorced in 1965; he married several times afterwards.

After the war, Selz attended and taught at the University of Chicago where he received a Ph. D. in German Expressionism. He spent a year in Paris, 1949-1950, at the Sorbonne and École du Louvre on a Fulbright grant. He received a second Fulbright grant in 1953 to study at the Royal Museums of Art and History in Belgium. From 1953-1955, Selz also taught at the Chicago Institute of Design.

In 1955 Peter Selz accepted a position to chair the art history department at Pomona College in Claremont and relocated to California for a few years. He also became director of the college's art gallery.

In 1958 Selz moved to New York City to become curator of painting and sculpture at the Museum of Modern Art and was there through the transformative mid-1960s. While at MOMA, he organized several significant exhibitions of modern art, including the 1960 Jean Tinguely "Homage to New York," a sculpture that destroyed itself (and started a fire) in the sculpture garden of the museum; New Images of Man (1959), the Art Nouveau show (1960), and the Art of Assemblage (1961). He also launched important retrospectives, including the first Rodin retrospective in the United States and a comprehensive exhibition of Alberto Giacometti's work in 1965.

In 1965, Peter Selz returned to California to become the founding director of the Berkeley Art Museum at the University of California, Berkeley, a position he held until 1973. He organized exhibitions of Funk, film, and ceramicists like Peter Voulkos and Robert Arneson. Peter Selz later became project director for Christo's "Running Fence", the 24.5-mile long fabric fence over the Marin County hills in 1976. He also served concurrently as a professor of art history at UC until retiring in 1988.

Peter Selz was a member of the College Art Association's board of directors for two terms, 1958-1964 and 1966-1971. Selz is a prolific writer, and the author or co-author of numerous books, exhibition catalogs, and articles. Notable books include German Expressionist Painting (1957), Art in a Turbulent Era (1965), Art in Our Times (1981), and Sam Francis (1975).

In 1988 Peter Selz was named emeritus professor at University of California, Berkeley. In 1993 he was on the acquisitions committee of the Museums of Fine Arts, San Francisco. In 2012, Selz curated The Painted Word exhibition. Selz died in 2019 in Albany, California.
Related Materials:
The Archives of American Art also holds oral history interviews of Peter Selz conducted by Paul J. Karlstrom on July 28, 1982, October 12, 1982, and November 3, 1999.
Provenance:
The Peter Howard Selz papers were donated to the Archives of American Art by Peter Selz in multiple installments from 1976 through 2014. Additional papers were donated in 2018 by Gabrielle Selz, Peter Selz's daughter.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Authors -- California -- Berkeley  Search this
Art historians -- California -- Berkeley  Search this
Topic:
Realism  Search this
Political cartoons  Search this
Pop art  Search this
Environment (Art)  Search this
Painting, Abstract  Search this
Ceramics  Search this
Art -- Study and teaching -- California  Search this
Art -- Political aspects  Search this
Art, Modern -- 20th century -- Exhibitions  Search this
Art -- Germany  Search this
Genre/Form:
Photographs
Scrapbooks
Sound recordings
Video recordings
Citation:
Peter Howard Selz papers, 1929-2018, bulk 1950-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.selzpete
See more items in:
Peter Howard Selz papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ce9d9d14-7599-455d-828d-57077e76ef17
EDAN-URL:
ead_collection:sova-aaa-selzpete
Online Media:

Max Beckmann : artist file, [photographs]

Artist:
Beckmann, Max 1884-1950  Search this
Physical description:
1 folder
Type:
Photograph
Artist files
Topic:
Art, German  Search this
Image number:
VFM VF000212
See more items in:
Photograph Study Collection
Data Source:
Photograph Study Collection, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_136967

(No Title Given) [art work] / (photographed by Peter A. Juley & Son)

Artist:
Beckmann, Max 1884-1950  Search this
Type:
Photograph
Image number:
JUL J0080871
See more items in:
Photograph Study Collection
Data Source:
Photograph Study Collection, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_80872

Perry Townsend Rathbone papers

Creator:
Rathbone, Perry Townsend, 1911-2000  Search this
Names:
Allied Forces. Supreme Headquarters. Monuments, Fine Arts and Archives Section  Search this
Christie, Manson & Woods International Inc.  Search this
City Art Museum of St. Louis  Search this
Museum of Fine Arts, Boston  Search this
Beckmann, Max, 1884-1950  Search this
Faison, S. Lane (Samson Lane), 1907-2006  Search this
Gonzalez, Xavier, 1898-1993  Search this
Howe, Thomas Carr, 1904-1994  Search this
Moore, Lamont  Search this
Parkhurst, Charles  Search this
Ritchie, Andrew Carnduff  Search this
Sabersky, Jane, 1911-1983  Search this
Stout, George L. (George Leslie)  Search this
Swarzenski, Hanns, 1903-1985  Search this
Valentin, Curt, 1902-1954  Search this
Valentiner, Wilhelm Reinhold, 1880-1958  Search this
Willard, Marian, 1904-  Search this
Wittmann, Otto, 1911-2001  Search this
Extent:
4.3 Linear feet (5 boxes, 1 OV)
Type:
Collection descriptions
Archival materials
Transcripts
Photographs
Interviews
Date:
1929-1985
Summary:
The papers of museum director Perry Townsend Rathbone measure 4.3 linear feet and date from 1929 to 1985. The papers document Rathbone's career as museum director of the City Art Museum of St. Louis and the Boston Museum of Fine Arts, and his later work with Christie's New York office. Found within the papers are biographical materials, correspondence with friends and colleagues, writings, professional and project files, printed materials, and photographs, mostly of exhibitions.
Scope and Contents:
The papers of museum director Perry Townsend Rathbone measure 4.3 linear feet and date from 1929 to 1985. The papers document Rathbone's career as museum director of the City Art Museum of St. Louis and the Boston Museum of Fine Arts, and his later work with Christie's New York office. Found within the papers are biographical materials, correspondence with friends and colleagues, writings, professional and project files, printed materials, and photographs, mostly of exhibitions.

Biographical materials contain curriculum vitae, biographical sketches, citations for honorary degrees and for Rathbone's appointment as Chevalier of the French Legion of Honor, a passport, a transcript of an interview with Rathbone and articles written by others about Rathbone, including one by S. Lane Faison.

Correspondence is with Rathbone's friends and colleagues. Notable correspondents include Max Beckmann, Xavier Gonzalez, Hanns Swarzenski, Curt Valentin, Jane Sabersky, William R. Valentiner, and Marian Willard, among others. Rathbone knew several art historians and conservators who served in the U.S. Army as members of the Monuments, Fine Arts and Archives Section, also known as the Monuments Men. Correspondence with these colleagues is arranged together as a subseries and includes correspondence with S. Lane Faison, Thomas Carr Howe, Lamont Moore, Charles Parkhurst, Andrew Ritchie, George Leslie Stout, and Otto Wittman. Most of the correspondence with other Monuments Men is post World War II.

Writings by Rathbone consist of student papers, typescript drafts of articles and entries for exhibition catalogs, notes and notebooks from European trips, and lectures.

Professional files encompass a range of documents related to Rathbone's museum directorships, projects, travels and professional affiliations. The folders about his work at the City Art Museum of St. Louis and the Museum of Fine Arts in Boston include correspondence, reports, meeting minutes, press releases and notes. There are also folders on specific projects such as the renovation of the historic Dederer-Blodgett House and Rathbone's membership on various art commissions and committees. Also found within this series are correspondence, notebooks, receipts, itineraries and vouchers for Rathbone's business trips to Europe and other locations while working for the Boston Museum of Fine Arts.

Printed materials include news clippings, articles, press releases, a few art magazines and exhibition catalogues, and invitations to events. There are also black and white photographs of exhibitions, including a Max Beckmann exhibit, and a few images of Rathbone.
Arrangement:
The collection is arranged as 6 series.

Missing Title

Series 1: Biographical Materials, 1930-1982 (0.1 linear feet; Box 1)

Series 2: Correspondence, 1940-1985 (1.1 linear feet; Box 1-2)

Series 3: Writings, 1929-1967 (0.8 linear feet; Box 2)

Series 4: Professional Files, 1938-1984 (2 linear feet; Box 2-4, OV 6)

Series 5: Printed Materials, 1954-1975 (0.2 linear feet; Box 4-5, OV 6)

Series 6: Photographs, 1936-1972 (0.1 linear feet; Box 5)
Biographical / Historical:
Perry Townsend Rathbone (1911-2000) was a prominent museum director who worked primarily in Boston and New York City. He was an early supporter of German Expressionism in America.

Rathbone was director of the City Art Museum of St. Louis from 1940-1955, moving on to direct the Museum of Fine Arts, Boston from 1954-1972, where he led a period of extensive reform. After retiring from the museum, he worked for one year for the Chase Manhattan Bank as an art consultant. Rathbone worked as director and senior vice president of Christies USA auction house from 1973-1987. After 1987, he continued working at Christies as a consultant.

Rathbone was born in Germantown, Pennsylvania on July 3, 1911 and grew up in New Rochelle, New York. He attended Harvard College, majoring in Art History and graduating in 1933. He then completed the graduate "museum course" taught by Professor Paul Sachs in 1934. The Paul Sachs museum course was famous for cultivating future directors at some of this country's most prestigious museums. After Harvard, Rathbone was appointed as curator of Alger House (later renamed the Grosse Pointe War Memorial), a branch of the Detroit Institute of Arts. Rathbone directed the ''Masterpieces of Art'' exhibit at the 1939 New York World's Fair. The success of the exhibit led to his appointment as director of the City Art Museum of St. Louis, Missouri in 1940 at the age of 29, making him the youngest American museum director at the time.

During World War II, Rathbone served in the U.S. Navy from late 1942-1945. He was a commissioned officer in charge of the Navy Art and Poster Section, Office of Public Relations in Washington, D.C. He supervised five Navy "combat artists," who painted naval battles and depicted the daily lives of soldiers. He also served as an officer in New Calcedonia. He separated from service as a Lieutenant Commander in late 1945. This collection does not contain records directly related to his military service. In 1945 Rathbone married Euretta de Cosson while on leave in Washington, D.C. They had three children together: Peter, Eliza, and Belinda.

Rathbone resumed his position as the director of the City Art Museum of St. Louis after the war. The Detroit Institute of Arts director William R. Valentiner introduced Rathbone to German Expressionism. Rathbone helped the German Expressionist painter Max Beckmann, labeled a ''degenerate artist'' by Hitler, and his wife immigrate to America and then arranged a teaching position for Beckmann at Washington University. Rathbone and Beckmann became close, and in 1948, Rathbone organized a Beckmann retrospective at the City Art Museum. Beckmann made a portrait of Rathbone and one of his wife Euretta. Rathbone gave the eulogy at Beckmann's funeral in 1950.

In 1955 Rathbone became the director of the Museum of Fine Arts (MFA) in Boston. During his tenure there he expanded the museum by 80,000 square feet, doubled the staff, and oversaw the renovations of 57 of the Museum's 189 galleries. He mounted exhibitions of Rembrandt, Matisse, Modigliani, Cezanne, van Gogh and Courbet. The Boston Museum's first acquisitions of Pablo Picasso, Alexander Calder, Constantine Brancusi, Paul Klee, Alberto Giacometti and other works by 20th-century artists occurred under Rathbone's directorship. Rathbone also served as curator of paintings and wrote the catalog essays for many of the museum's exhibitions. Working with Frances Weeks Hallowell, he established the first "Ladies Committee" for the museum, which substantially increased membership. He was appointed as Chevalier de Légion d'Honneur by the French government in 1964.

In 1969, the Museum of Fine Arts purchased what was believed to be a Raphael portrait of Eleonora Gonzaga, 1505, from a Genoa art dealer. The work was meant to be the highlight of the museum's centennial celebration. However controversy arose when the Italian government alleged that the work was smuggled out of the country and the museum was forced to return the painting to the Italian government. The situation caused Rathbone to resign in 1972.

At the request of David Rockefeller, Rathbone became an art consultant to Chase Manhattan Bank for one year. In 1973, he became director of Christie's auction house in New York and senior vice president in 1977, working there until 1987, when he retired but still worked as a consultant.

Perry Townsend Rathbone died on January 22, 2000 at the age of 88.
Related Materials:
The Archives of American Art also holds an oral history interview of Perry Townsend Rathbone conducted in 1975-1976 by Paul Cummings for the Archives of American Art's oral history program.
Provenance:
Perry Townsend Rathbone donated his paper to the Archives of American Art in 1977 and 1988.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Museum directors -- Massachusetts -- Boston  Search this
Genre/Form:
Transcripts
Photographs
Interviews
Citation:
Perry Townsend Rathbone papers, 1929-1985. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rathperr
See more items in:
Perry Townsend Rathbone papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99ceffd13-4519-4277-b68d-2369944ef893
EDAN-URL:
ead_collection:sova-aaa-rathperr
Online Media:

J. B. Neumann papers

Creator:
Neumann, J. B. (Jsrael Ber)  Search this
Names:
Artlover  Search this
Gehenna Press  Search this
New Art Circle (New York, N.Y.)  Search this
Albers, Josef  Search this
Baskin, Leonard, 1922-2000  Search this
Beckmann, Max, 1884-1950  Search this
Kandinsky, Wassily, 1866-1944  Search this
Morrison, Helen Balfour, 1901-1984  Search this
Namuth, Hans  Search this
Rattner, Abraham  Search this
Schmid, Elsa, 1897-  Search this
Photographer:
White, Clarence H., 1871-1925  Search this
Extent:
2.1 Linear feet (4 boxes)
Type:
Collection descriptions
Archival materials
Drawings
Photographs
Scrapbooks
Etchings
Date:
1905-1967
Summary:
The papers of gallery director, art dealer and publisher Jsrael Ber Neumann (1887-1961) measure 2.1 linear feet and date from 1905 to 1967. The papers document Neumann's career as the director of galleries in Berlin and Munich, Germany (1910-1924) as well as the New Art Circle gallery in New York City (1924-1952). Neumann was a respected art dealer, publisher of Artlover periodical, founder of Gehenna Press, and frequent lecturer. Found within his papers are correspondence with artists and museums, writings, printed materials mostly comprised of exhibition catalogues, artwork, and photographic materials.
Scope and Contents:
The papers of gallery director, art dealer and publisher Jsrael Ber Neumann (1887-1961) measure 2.1 linear feet and date from 1905 to 1967. The papers document Neumann's career as the director of galleries in Berlin and Munich, Germany (1910-1924) as well as the New Art Circle gallery in New York City (1924-1952). Neumann was a respected art dealer, publisher of Artlover periodical, founder of Gehenna Press, and frequent lecturer. Found within his papers are correspondence with artists and museums, writings, printed materials mostly comprised of exhibition catalogues, artwork, and photographic materials.

Correspondence is between Neumann and friends, colleagues, and museums. There is also correspondence with notable artists, including Josef Albers, Leonard Baskin, Max Beckmann, Wassily Kandinsky, and Abraham Rattner, among others. There are also condolence letters from friends and colleagues to Elsa Schmid, Neumann's wife.

Scattered writings consist of typescript drafts of Neumann's speeches and one article on expressionism. There is also one speech written by curator Richard Klein.

Printed materials comprise the bulk of the collection and include a bound gallery guest register, a disbound scrapbook, exhibition catalogs and announcements, brochures, magazines, posters, and news clippings. There are many exhibition catalogs from Neumann's galleries in Berlin and Munich as well as from the New Art Circle gallery in New York. Artwork consists of two etchings and one drawing by an unknown artist or artists.

Photographic materials include black and white photographs and negatives, including notable portraits of Neumann by photographers Helen Balfour Morrison, Clarence White, and Hans Namuth.
Arrangement:
This collection is arranged as 5 series.

Missing Title

Series 1: Correspondence, 1925-1961 (0.2 linear feet; Box 1)

Series 2: Writings, 1919, 1954-circa 1960 (5 folders; Box 1)

Series 3: Printed Materials, 1910-1967 (1.7 linear feet; Box 1-4)

Series 4: Artwork, 1919-circa 1960 (3 folders; Box 3-4)

Series 5: Photographic Materials, 1905-circa 1950 (0.2 linear feet; Box 3-4)
Biographical / Historical:
J. B. (Jsrael Ber) Neumann (1887-1961) was a gallery director, art dealer and publisher. After immigrating to the U.S., Neumann founded the New Art Circle Gallery in New York City. Before then, he had art galleries in Berlin, Munich, Dusseldorf and Bremen, Germany.

J. B. Neumann was born in Austria in 1887. His father was an oil and lumber dealer. Neumann initially studied business but later apprenticed to a book and picture dealer when he was nineteen. While working as a clerk in a large bookstore in London, Neumann had the opportunity to work at the rare book dealer's table in the British Museum. The job allowed him to assess and handle fine and rare books, starting a lifelong passion, and Neumann went on to amass a substantial personal library.

In 1910, Neumann returned to Berlin, Germany and in 1911 opened a book and art shop where he exhibited the work of Edvard Munch and others. Neumann had many friends who were artists and in 1915-1916 he was secretary to the Berlin Secession, a prominent German artist association. By 1922 Neumann had branch offices in Bremen, Dusseldorf and Munich.

Neumann immigrated to America in 1923 and left the Berlin gallery to the directorship of Karl Nierendorf and the Munich gallery to Günther Franke. Neumann settled in New York City and one year later he opened a 57th Street gallery and bookshop, first called J.B. Neumann's Print Room and later the New Art Circle gallery. He supported numerous artists, including Wassily Kandinsky, Max Beckmann, Paul Klee, and Georges Rouault. Elsa Schmid, Neumann's wife, was an artist who worked in mosaics.

Neumann also worked as a publisher. He created the printing company Gehenna Press and published a series of periodicals including Bilderhefte (Berlin, 1920-1922) and Artlover (New York, 1926-1945, 1959). The New Art Circle gallery closed circa 1952 and, after working as its director for nearly three decades, Neumann became a consultant for museums and collectors. He was also a lecturer and he frequently spoke about art at universities, museums and galleries.

Neumann died in Rye, New York on April 28, 1961. He is survived by his widow, Elsa Schmid (d. 1970); two sons, Peter and Albrecht; and a daughter, Mrs. Johanna Lam.
Related Materials:
The Archives of American Art also holds a collection of Josef Albers letters to J. B. Neumann, 1934-1947 on microfilm reel 911.

Additional J.B. Neumann papers are also located at the Museum of Modern Art in New York. The museum microfilmed a portion of these papers and donated a copy of that film to the Archives. This material may be viewed on reel NJBN5 at Archives of American Art offices, affliate centers, and via interlibrary loan.
Separated Materials:
Also available at the Archives of American Art are materials lent for microfilming (reels NJBN-1- NJBN-5) including correspondence with numerous artists, art critics, museum directors and others. The materials on reel NJBN-1- NJBN-4 were returned to Neumann's wife, Elsa Schmid and the original material on reel NJBN-5 is located at The Museum of Modern Art in New York, NY. Loaned material is not described in the collection container inventory.
Provenance:
Neuman's wife, Elsa Schmid and The Museum of Modern Art lent the Archives of American Art material for microfilming in 1966-1967. The rest of the J.B. Neumann papers were donated in several installments between 1973-2007 by Eva Lee (family friend), Joy Weber, Max Weber's daughter, Neil Richmond, and Hellie Neumann, J.B. Neumann's granddaughter.
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:
Gallery directors -- New York (State) -- New York  Search this
Art directors -- New York (State) -- New York  Search this
Publishers -- New York (State) -- New York  Search this
Topic:
Art, Modern -- 20th century -- United States -- History  Search this
Art -- Periodicals  Search this
Genre/Form:
Drawings
Photographs
Scrapbooks
Etchings
Citation:
J. B. Neumann papers, 1905-1967. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.neumjsra
See more items in:
J. B. Neumann papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a841e037-5cca-486a-a45e-bb0239fc0adb
EDAN-URL:
ead_collection:sova-aaa-neumjsra
Online Media:

Max Beckmann papers

Creator:
Beckmann, Max, 1884-1950  Search this
Names:
Beckmann, Mathilde Q.  Search this
Extent:
1.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1917-1954
Summary:
The papers of painter and educator Max Beckmann measure 1.4 linear feet and date from 1917 to 1954. The collection documents Beckmann's art career in Germany as well as New York and includes biographical material, correspondence, printed material and photographs.
Scope and Contents:
The papers of painter and educator Max Beckmann measure 1.4 linear feet and date from 1917 to 1954. The collection documents Beckmann's art career in Germany as well as New York and includes biographical material, correspondence, printed material and photographs.

Biographical material consists of an art class student register, art organization membership card, bibliography, customs forms for a pet, exhibition price lists, and assorted travel identification documents.

Correspondence is with universities, museums and galleries regarding teaching positions, lectures, exhibitions and art sales. There are also numerous letters and telegrams with his wife Mathilde.

Printed material includes clippings, catalogs, postcards, and miscellany.

Photographs are of Max Beckmann, family, friends, exhibition installations, and houses. Most of the series consists of photographic prints, but there are also a few negatives. Many of the photographs are annotated in German.
Arrangement:
The collection is arranged as four series.

Series 1: Biographical Material, 1939-1954 (Box 1; 0.2 linear feet)

Series 2: Correspondence, 1922-1950 (Boxes 1-2; 1 linear foot)

Series 3: Printed Material, circa 1937-1950 (Box 2; 4 folders)

Series 4: Photographs, 1917-1950 (Box 2; 7 folders)
Biographical / Historical:
Max Beckmann (1884-1950) was a painter and educator who was born and educated in Germany and based in New York after World War II.

Max Beckmann was born in 1884 in Leipzig, Germany. He studied art at the Weimar-Saxon Grand Ducal Art Academy from 1900 to 1902 and graduated with honors. During World War I, he volunteered as a medical orderly from 1914 t0 1915, an experience that haunted him and deeply impacted his artwork. Beckmann's art is considered part of the German New Objectivity movement.

In 1925, Beckmann's first marriage to Minna Tube ended in divorce, and he married Mathilde von Kaulbach. That same year he began teaching art at the Städelschule Academy of Fine Art in Frankfurt. By the late 1920s he had several major exhibitions in museums and galleries in Germany and Switzerland, had his first exhibition in the US (1926), and his paintings were acquired by the National Gallery in Berlin.

When Hitler was appointed Chancellor of Germany in 1933 and the Nazis came to power, marking the end of the Weimar Republic, modern art was quickly suppressed and derisively referred to as "degenerate art." Consequently, Beckmann lost his teaching job at the Frankfurt Art Academy and several of his paintings were included in the Degenerate Art or Entartete Kunst exhibition (1937) in Munich. Shortly thereafter, Beckmann left Germany and never returned to the country again.

Beckmann and his wife Mathilde settled in Amsterdam, where they stayed for approximately ten years. Beckmann continued to paint during this time. After the end of World War II, Beckmann immigrated to the United States where he taught, painted, and regularly exhibited his work. He taught art at Washington State University in St. Louis, Missouri, for a time and then became an art professor at the Brooklyn Museum's Art School in New York. Max Beckmann died in 1950.
Related Materials:
The Max Beckmann Archive in Munich, Germany also holds papers of Max Beckmann including correspondence, clippings, photographs and artifacts.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 1213-1214 and 1237) including ten personal diaries of Max Beckmann and three notebooks containing lists of works, sketches, and some daily entries of activities and observations. Loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
Mathilde Q. Beckmann, the artist's widow, loaned diaries and notebooks for microfilming in 1977 and donated additional material in 1983.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Painters -- Germany  Search this
Topic:
Art -- Germany  Search this
Educators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Max Beckmann papers, 1917-1954. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.beckmax
See more items in:
Max Beckmann papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94fa3c2f4-e038-4b91-bc70-e56db9b0ba8b
EDAN-URL:
ead_collection:sova-aaa-beckmax
Online Media:

Correspondence

Collection Creator:
Beckmann, Max, 1884-1950  Search this
Container:
Box 1, Folder 8
Type:
Archival materials
Date:
1922
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Citation:
Max Beckmann papers, 1917-1954. Archives of American Art, Smithsonian Institution.
See more items in:
Max Beckmann papers
Max Beckmann papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98c6a5460-f0cc-46e8-953e-5c46ee8e4267
EDAN-URL:
ead_component:sova-aaa-beckmax-ref10

Correspondence

Collection Creator:
Beckmann, Max, 1884-1950  Search this
Container:
Box 1, Folder 9
Type:
Archival materials
Date:
1925 January - April
undated
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Citation:
Max Beckmann papers, 1917-1954. Archives of American Art, Smithsonian Institution.
See more items in:
Max Beckmann papers
Max Beckmann papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99d55f1be-522a-46a9-bf94-71798b62bd67
EDAN-URL:
ead_component:sova-aaa-beckmax-ref11

Correspondence

Collection Creator:
Beckmann, Max, 1884-1950  Search this
Container:
Box 1, Folder 10
Type:
Archival materials
Date:
1925 May - June
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Citation:
Max Beckmann papers, 1917-1954. Archives of American Art, Smithsonian Institution.
See more items in:
Max Beckmann papers
Max Beckmann papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90ba13602-1c65-4f0a-b4de-236da048c946
EDAN-URL:
ead_component:sova-aaa-beckmax-ref56

Correspondence

Collection Creator:
Beckmann, Max, 1884-1950  Search this
Container:
Box 1, Folder 11
Type:
Archival materials
Date:
1925 July
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Citation:
Max Beckmann papers, 1917-1954. Archives of American Art, Smithsonian Institution.
See more items in:
Max Beckmann papers
Max Beckmann papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9bca5d558-8de2-49e2-8d91-282165466970
EDAN-URL:
ead_component:sova-aaa-beckmax-ref57

Correspondence

Collection Creator:
Beckmann, Max, 1884-1950  Search this
Container:
Box 1, Folder 12
Type:
Archival materials
Date:
1925 August
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Citation:
Max Beckmann papers, 1917-1954. Archives of American Art, Smithsonian Institution.
See more items in:
Max Beckmann papers
Max Beckmann papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9efd89fc9-57aa-4eca-8fc7-99ba6675c04e
EDAN-URL:
ead_component:sova-aaa-beckmax-ref58

Correspondence

Collection Creator:
Beckmann, Max, 1884-1950  Search this
Container:
Box 1, Folder 13
Type:
Archival materials
Date:
1925 October - December
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Citation:
Max Beckmann papers, 1917-1954. Archives of American Art, Smithsonian Institution.
See more items in:
Max Beckmann papers
Max Beckmann papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw907890221-88bc-41cc-91c0-d6228fba2dd9
EDAN-URL:
ead_component:sova-aaa-beckmax-ref59

Biographical Material

Collection Creator:
Beckmann, Max, 1884-1950  Search this
Extent:
0.2 Linear feet (Box 1)
Type:
Archival materials
Date:
1939-1954
Scope and Contents:
Biographical material consists of an art class student register (presumably from Beckmann's time teaching at the Brooklyn Museum Art School), an Artists Equity Foundation membership card, bibliography, customs form for a pet dog, exhibition price lists, French travel identification cards, and assorted Netherlands travel documents.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Citation:
Max Beckmann papers, 1917-1954. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.beckmax, Series 1
See more items in:
Max Beckmann papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9458b3038-a9e5-402f-a636-2450c6bbd2de
EDAN-URL:
ead_component:sova-aaa-beckmax-ref1

Correspondence

Collection Creator:
Beckmann, Max, 1884-1950  Search this
Container:
Box 1, Folder 14-16
Type:
Archival materials
Date:
1926-1929
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Citation:
Max Beckmann papers, 1917-1954. Archives of American Art, Smithsonian Institution.
See more items in:
Max Beckmann papers
Max Beckmann papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw988a1852a-8569-4790-a3a5-004b17facb77
EDAN-URL:
ead_component:sova-aaa-beckmax-ref12

Correspondence

Collection Creator:
Beckmann, Max, 1884-1950  Search this
Container:
Box 1, Folder 17
Type:
Archival materials
Date:
1930-1932
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Citation:
Max Beckmann papers, 1917-1954. Archives of American Art, Smithsonian Institution.
See more items in:
Max Beckmann papers
Max Beckmann papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90658d2ca-5813-4dc8-b5b0-8fd1a6e3ea96
EDAN-URL:
ead_component:sova-aaa-beckmax-ref13

Correspondence

Collection Creator:
Beckmann, Max, 1884-1950  Search this
Container:
Box 1, Folder 18
Type:
Archival materials
Date:
1934-1935
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Citation:
Max Beckmann papers, 1917-1954. Archives of American Art, Smithsonian Institution.
See more items in:
Max Beckmann papers
Max Beckmann papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9944b586a-1fae-40c7-ae94-7e96b1a26758
EDAN-URL:
ead_component:sova-aaa-beckmax-ref14

Correspondence

Collection Creator:
Beckmann, Max, 1884-1950  Search this
Container:
Box 1, Folder 19-20
Type:
Archival materials
Date:
1936-1939
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Citation:
Max Beckmann papers, 1917-1954. Archives of American Art, Smithsonian Institution.
See more items in:
Max Beckmann papers
Max Beckmann papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96e7295dd-f085-4b6d-8adc-c025593577df
EDAN-URL:
ead_component:sova-aaa-beckmax-ref15

Correspondence

Collection Creator:
Beckmann, Max, 1884-1950  Search this
Container:
Box 1, Folder 21-23
Type:
Archival materials
Date:
1940-1941
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Citation:
Max Beckmann papers, 1917-1954. Archives of American Art, Smithsonian Institution.
See more items in:
Max Beckmann papers
Max Beckmann papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e27c5cf8-cfd0-46db-a03c-39af3c817cdb
EDAN-URL:
ead_component:sova-aaa-beckmax-ref16

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