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Rockwell Kent papers, circa 1840-1993, bulk 1935-1961

Creator:
Kent, Rockwell, 1882-1971  Search this
Subject:
Wildenstein, Felix  Search this
Phillips, Duncan  Search this
Hays, Lee  Search this
Untermeyer, Louis  Search this
Zigrosser, Carl  Search this
Robeson, Paul  Search this
DuBois, W.E.B. (William Edward Burghardt)  Search this
Roosevelt, Franklin D. (Franklin Delano)  Search this
Ruggles, Carl  Search this
Stefansson, Vilhjalmur  Search this
Nearing, Helen  Search this
Nearing, Scott  Search this
Pach, Walter  Search this
Rasmussen, Knud  Search this
Reeves, Ruth  Search this
Seeger, Pete  Search this
Daniel, Charles  Search this
Cleland, T. M. (Thomas Maitland)  Search this
Davies, Arthur B. (Arthur Bowen)  Search this
Chamberlain, J. E.  Search this
Boyesen, Bayard  Search this
Chase, William Merritt  Search this
Freuchen, Peter  Search this
Gellert, Hugo  Search this
Gottlieb, Harry  Search this
Hartley, Marsden  Search this
Fitzgerald, James  Search this
Keller, Charles  Search this
Miller, Kenneth Hayes  Search this
Henri, Robert  Search this
Jones, Dan Burne  Search this
United American Artists  Search this
United Office and Professional Workers of America  Search this
United Scenic Artists  Search this
National Farmers' Union (U.S.)  Search this
National Maritime Union of America  Search this
American Artists' Congress  Search this
Artists' Union (New York, N.Y.)  Search this
Artists League of America  Search this
Citizens' Committee for Government Arts Projects  Search this
Farmers Union of the New York Milk Shed  Search this
Federal Art Project  Search this
Federal Writers' Project  Search this
Macbeth Gallery  Search this
International Workers Order  Search this
Type:
Poems
Sketches
Business records
Photographs
Drawings
Citation:
Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.
Topic:
Designers -- New York (State)  Search this
Mural painting and decoration  Search this
Politics and culture  Search this
Authors -- New York  Search this
Art, Modern -- 20th century -- United States -- Political aspects  Search this
Dairy farms  Search this
Federal aid to the arts  Search this
Illustrators -- New York (State)  Search this
Illustration of books  Search this
Works of art  Search this
Art and war  Search this
Commercial art  Search this
World War, 1939-1945 -- Art and the war  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)9557
(DSI-AAA_SIRISBib)211757
AAA_collcode_kentrock
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211757
Online Media:

St. Lucia Sunjet Your Way on BWIA

Sponsor:
British West Indian Airways Ltd. (BWIA)  Search this
Medium:
Poster, Advertising, Commercial Aviation
Dimensions:
2-D - Unframed (H x W): 76.2 × 50.5cm (2 ft. 6 in. × 1 ft. 7 7/8 in.)
Type:
ART-Posters, Original Art Quality
Country of Origin:
Trinidad and Tobago
Date:
circa 1965
Inventory Number:
A19960191000
Restrictions & Rights:
Usage conditions apply
See more items in:
National Air and Space Museum Collection
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv9295a026f-4a81-4a53-8844-48a10c1cde69
EDAN-URL:
edanmdm:nasm_A19960191000
Online Media:

The Anatomy of a Profitmaker

Manufacturer:
Boeing Company  Search this
Medium:
Poster, Aviation Industry
Dimensions:
2-D - Unframed (H x W): 59.7 × 91.4cm (1 11 1/2 × 3 ft.)
Type:
ART-Posters, Original Art Quality
Country of Origin:
United States of America
Date:
circa 1970-1985
Inventory Number:
A19900795000
Restrictions & Rights:
Usage conditions apply
See more items in:
National Air and Space Museum Collection
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv98599e5e6-5a46-4da3-b281-e3a6fd41a3e3
EDAN-URL:
edanmdm:nasm_A19900795000
Online Media:

Lester Beall Collection

Topic:
American printer (New York, N.Y.)
Red Cross magazine
Time
McCall's (Los Angeles, Calif. : 1921)
Fortune
Creator:
Beall, Lester, 1903-  Search this
Names:
Abbott Laboratories  Search this
Art Directors Club (New York, N.Y.)  Search this
Chance Vought Corporation  Search this
Chicago Tribune (Firm)  Search this
Cone Automatic Machine Company  Search this
Cooper-Hewitt Design Archive  Search this
George Bijur, Inc.  Search this
Heim Jeunes Filles  Search this
House of Herbs, Inc.  Search this
International Paper Company  Search this
Labatt's Canada Limited  Search this
Marshall Field & Company (Chicago, Ill.)  Search this
Merrill Lynch, Pierce, Fenner & Smith, inc.  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Narragansett Brewing Co.  Search this
Stanley Works Inc.  Search this
Upjohn Company  Search this
Hauck, Fred  Search this
Extent:
1 Cubic foot (1 box)
Container:
Box 1
Type:
Collection descriptions
Archival materials
Tear sheets
Advertisements
Exhibition catalogs
Posters
Announcements
Photographs
Design drawings
Logos
Greeting cards
Place:
Dumbarton Farm (Brookfield, Conn.)
Date:
1933-[circa 1967]
Scope and Contents:
This collection documents the career of Lester Beall, graphic designer and commercial artist from approximately 1933-1967.
Arrangement:
Record Groups include:

I. "Scope" Magazine

II. Modern Art 5,000 Years Ago

III. Red Cross Magazines

IV. Greeting Cards

V. Time Magazine ads

VI. Logo Designs

VII. Cone Automatic Machine Co., tear sheets

VIII. Miscellaneous Covers

IX. George Bijur, Inc.

X. Labatt's of Canada and Catch! Narragansett Ale design campaigns

XI. Exhibition, Art Center, California

XII. Abbott Laboratories, "What's New"

XIII. Marshall Field and Company

XIV. Miscellaneous Advertisements
Biographical / Historical:
American designer Lester Beall (1903-1969) was educated at Lane Technical School in Chicago and received a bachelor's degree in art history from the University of Chicago. Upon discovering the work of the European avant-garde, Beall was inspired to bring American design of the 1930s and 1940s to a higher level of effective visual communication. Self-taught, Lester Beall was one of the first Americans to have his work shown in a German monthly graphics periodical, Gebrauchsgraphik, and was one of the first Americans to incorporate the New Typography, using techniques such as photomontage, collage and the use of cut-out flat colored paper in combination with photography and economical line drawing, reworking the element of European modernism into distinctive American style. He produced solutions to graphic design problems that were unique among his American contemporaries.

Beall moved from Chicago to New York in 1935 and did work that was influential to the field of editorial design. Between 1938 and 1940, he redesigned twenty magazines for McGraw Hill, in 1946 he designed two covers for Fortune and in 1944, he began designing Scope magazine for UpJohn Pharmaceuticals which he did until 1951. In 1952, Beall opened a design office on Dumbarton Farm, his home in rural Connecticut. In 1973, four years after his death, Lester Beall was inducted into the New York Art Directors Club Hall of Fame.

Philip B. Meggs credits Beall with "almost single-handedly launching the modern movement in American design". In 1973, four years after his death, the Art Directors Club of New York belatedly elected him to its prestigious Hall of Fame. Bob Plisken, who worked for Beall in the early 1940s, said on that occasion, "In my opinion, Beall did more than anyone to make graphic design in American a distinct and respected profession".
Bibliographic References:
Lester Beall. Brookfield Center, Conn. : Lester Beall, Inc., [197-?].
Nine Pioneers in American Graphic Design / Roger R. Remington and Barbara J. Hodik. Cambridge, Mass. : MIT Press, 1989.
Lester Beall : trailblazer of American graphic design / Roger R. Remington. New York : W.W. Norton, 1996.
Graphic Design History / Steven Heller and Georgette Balance. New York : Allworth Press, 2001.
Provenance:
All materials were donated to the museum by Mr. Lester Beall, Jr. in 1998.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Occupation:
Graphic designers -- United States  Search this
Commercial artists -- United States  Search this
Topic:
Graphic arts -- Sources -- History -- 20th century -- United States  Search this
Commercial art -- Sources -- History -- 20th century -- United States  Search this
Genre/Form:
Tear sheets
Advertisements
Exhibition catalogs
Posters
Announcements
Photographs -- 20th century
Design drawings
Logos
Greeting cards
Citation:
Lester Beall collection, 1933-circa 1967, Archives Center, National Museum of American HIstory.
Identifier:
NMAH.AC.1278
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep859bf9519-9de3-4827-ba9a-87e675746009
EDAN-URL:
ead_collection:sova-nmah-ac-1278

20th century alcohol & tobacco 100 years of stimulating ads = 100 Jahre stimulierende Werbung = 100 ans de publicites stimulantes Jim Heimann, Steven Heller

Title:
Twentieth century alcohol & tobacco ads
Alcohol and tobacco ads
Author:
Heimann, Jim 1948-  Search this
Heller, Steven  Search this
Silver, Allison  Search this
Editor:
Heimann, Jim 1948-  Search this
Physical description:
464 pages illustrations (black and white, and colour) 22 cm
Type:
Books
History
Place:
United States
Etats-Unis
Date:
2022
20th century
20e siecle
Topic:
Commercial art  Search this
Tobacco industry--Marketing--History  Search this
Alcohol industry--Marketing--History  Search this
Advertising--Alcoholic beverages--History  Search this
Advertising--Tobacco--History  Search this
Art publicitaire  Search this
Boissons alcoolisees--Publicite--Histoire  Search this
Tabac--Publicite--Histoire  Search this
commercial art  Search this
Advertising--Alcoholic beverages  Search this
Advertising--Tobacco  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1163320

Toys 100 years of all-American toy ads = 100 Jahre amerikanische Spielzeugwerbung = 100 ans de pubs américaines Jim Heimann, Steven Heller

Title:
100 years of all-American toy ads
One hundred years of all-American toy ads
100 Jahre amerikanische Spielzeugwerbung
100 ans de pubs américaines
Author:
Heimann, Jim 1948-  Search this
Heller, Steven  Search this
Physical description:
526 pages illustrations (chiefly color) 26 cm
Type:
Books
History
Pictorial works
Place:
United States
Date:
2021
20th century
20e siècle
Topic:
Commercial art--History  Search this
Toys in art--History  Search this
Jouets dans l'art--Histoire  Search this
Toys in art  Search this
Advertising--Toys  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1162872

Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991

Creator:
Robert Schoelkopf Gallery  Search this
Subject:
Andrejevic, Milet  Search this
Brassaï  Search this
Bell, Leland  Search this
Bailey, William  Search this
Aponovich, James  Search this
Nadelman, Elie  Search this
Myers, Ethel  Search this
Schoelkopf, Robert J.  Search this
Storrs, John Henry Bradley  Search this
Stella, Joseph  Search this
Wiesenfeld, Paul  Search this
Freund, Gisèle  Search this
Horton, William S.  Search this
Ito, Miyoko  Search this
Lachaise, Gaston  Search this
Laderman, Gabriel  Search this
Ligare, David  Search this
Matthiasdottir, Louisa  Search this
Matulka, Jan  Search this
Cameron, Julia Margaret Pattle  Search this
Cartier-Bresson, Henri  Search this
Cornell, Joseph  Search this
Dawson, Manierre  Search this
Driggs, Elsie  Search this
Erlebacher, Martha Mayer  Search this
Evans, Walker  Search this
Fiske, Gertrude  Search this
Zabriskie Gallery  Search this
Type:
Gallery records
Illustrated letters
Photographs
Citation:
Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.
Topic:
Art, Modern -- 20th century  Search this
Works of art  Search this
Photography, Artistic  Search this
Realism  Search this
Art, American  Search this
Theme:
Photography  Search this
Art Gallery Records  Search this
Art Market  Search this
Record number:
(DSI-AAA_CollID)10988
(DSI-AAA_SIRISBib)214859
AAA_collcode_robeschg
Theme:
Photography
Art Gallery Records
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214859
Online Media:

Oral history interview with Hananiah Harari, 1992 Sept. 24-Oct. 15

Interviewee:
Harari, Hananiah, 1912-2000  Search this
Interviewer:
Stavitsky, Gail, 1954-  Search this
Subject:
Davis, Stuart  Search this
Emanuel, Herzl  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Hananiah Harari, 1992 Sept. 24-Oct. 15. Archives of American Art, Smithsonian Institution.
Topic:
Political cartoons  Search this
Commercial art  Search this
Mural painting and decoration -- 20th century -- United States  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Record number:
(DSI-AAA_CollID)12622
(DSI-AAA_SIRISBib)214897
AAA_collcode_harari92
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_214897
Online Media:

Imperial Airways The Most Luxurious Flying Boat in the World

Manufacturer:
Ben Johnson & Co., Ltd.  Search this
Sponsor:
Imperial Airways  Search this
Artist:
James Gardner, 1908-1995  Search this
Other:
Stuarts Advertising Agency  Search this
Medium:
Poster, Advertising, Commercial Aviation
Dimensions:
2-D - Unframed (H x W): 63.3 × 101.4cm (2 ft. 15/16 in. × 3 ft. 3 15/16 in.)
Type:
ART-Posters, Original Art Quality
Country of Origin:
United Kingdom
Date:
1937
Inventory Number:
A19900623000
Restrictions & Rights:
Usage conditions apply
See more items in:
National Air and Space Museum Collection
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv9f657cdb4-0bcd-4fd3-a4df-c80cc7dc78e9
EDAN-URL:
edanmdm:nasm_A19900623000
Online Media:

Hamburg-Amerika Linie: Nach Sudamerika in 3 Tagen!

Sponsor:
Hamburg-Amerika Linie  Search this
Artist:
Ottomar Anton, 1895-1976  Search this
Medium:
Poster, Advertising, Commercial Aviation
Dimensions:
2-D - Unframed (H x W): 83.8 × 60cm (2 ft. 9 in. × 1 ft. 11 5/8 in.)
Type:
ART-Posters, Original Art Quality
Country of Origin:
Germany
Date:
1935-1937
Inventory Number:
A19900533000
Restrictions & Rights:
Usage conditions apply
See more items in:
National Air and Space Museum Collection
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv92a1719a4-d7d8-4712-8fb7-15788f3e06ca
EDAN-URL:
edanmdm:nasm_A19900533000
Online Media:

International Air Races and Gordon Bennett Balloon Race

Sponsor:
Chicago Daily News  Search this
Other:
National Aeronautic Association  Search this
Medium:
Poster, Advertising, Air Shows and Races
Dimensions:
2-D - Unframed (H x W): 55.9 × 35.4cm (1 ft. 10 in. × 1 ft. 1 15/16 in.)
Type:
ART-Posters, Original Art Quality
Country of Origin:
United States of America
Date:
September 1-4, 1933
Inventory Number:
A19900383000
Restrictions & Rights:
Usage conditions apply
See more items in:
National Air and Space Museum Collection
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv959150419-b337-4000-a380-2b5d8226a8f6
EDAN-URL:
edanmdm:nasm_A19900383000
Online Media:

Robert Schoelkopf Gallery records

Creator:
Robert Schoelkopf Gallery  Search this
Names:
Zabriskie Gallery  Search this
Andrejevic, Milet, 1925-1989  Search this
Aponovich, James, 1948-  Search this
Bailey, William, 1930-2020  Search this
Bell, Leland  Search this
Brassaï, 1899-  Search this
Cameron, Julia Margaret Pattle, 1815-1879  Search this
Cartier-Bresson, Henri, 1908-  Search this
Cornell, Joseph  Search this
Dawson, Manierre, 1887-1969  Search this
Driggs, Elsie, 1898-1992  Search this
Erlebacher, Martha Mayer  Search this
Evans, Walker, 1903-1975  Search this
Fiske, Gertrude, 1878-1961  Search this
Freund, Gisèle  Search this
Horton, William S., 1865-1936  Search this
Ito, Miyoko, 1918-1983  Search this
Lachaise, Gaston, 1882-1935  Search this
Laderman, Gabriel, 1929-  Search this
Ligare, David  Search this
Matthiasdottir, Louisa  Search this
Matulka, Jan, 1890-1972  Search this
Myers, Ethel  Search this
Nadelman, Elie, 1882-1946  Search this
Schoelkopf, Robert J., 1927-1991  Search this
Stella, Joseph, 1877-1946  Search this
Storrs, John Henry Bradley, 1885-1956  Search this
Wiesenfeld, Paul  Search this
Extent:
29 Linear feet
Type:
Collection descriptions
Archival materials
Gallery records
Illustrated letters
Photographs
Date:
1851-1991
bulk 1962-1991
Summary:
The collection comprises 29 linear feet of records that document the day-to-day administration of the Robert Schoelkopf Gallery from 1962 to 1991, with additional items predating the founding of the gallery from 1851 to 1961. The collection records artist and client relations, exhibitions, and daily business transactions through artist files, correspondence, printed matter, and photographic material.
Scope and Content Note:
The records of the Robert Schoelkopf Gallery comprise 29 linear feet of material from 1851 to 1991, with some items predating the founding of the gallery. The bulk of the records date from 1962 to 1991, providing researchers with fairly comprehensive coverage of the gallery's development and operations from its inception in 1962 until its closure in 1991. Items dated prior to 1962 relate principally to the period of transition during which Robert Schoelkopf ended his partnership with the Zabriskie Gallery and established his own business. There are also some items relating to artists of the nineteenth and early twentieth century.

The collection consists primarily of artist files documenting relations with contemporary artists, representation of deceased artists, and other works of art handled by the gallery. It also chronicles the gallery's exhibition schedule and the day-to-day administration of the business. The types of material that can be found here include correspondence, exhibition inventories, price lists, accounting and consignment records, shipping and insurance records, printed material, and photographs.

The collection is a valuable source of information on twentieth-century American art history, focusing primarily on early-twentieth-century modernists as well as an important group of American realist painters and sculptors from the latter half of the century. The collection illuminates, in detail, the developing market for these schools and, in the case of the latter group, provides personal insights from artists on the realist perspective.

The records also document the Robert Schoelkopf Gallery's significant contribution to the resurgence of interest in fine art photography during the 1960s and 1970s as reflected in an increase in the value of works by important American photographers such as Walker Evans.

Much of the outgoing correspondence from the gallery consists of copies of letters written by Robert Schoelkopf, with additional business being handled by assistant staff and, from the mid-1970s, Schoelkopf's wife, Laura Jane Schoelkopf. The records offer insight into the personalities of the Schoelkopfs and how their congenial and candid management style influenced their relationships with the contemporary artists they represented.
Arrangement:
Originally the collection was organized as one large file arranged alphabetically by folder title, with titles ranging from names of artists to general subject headings such as "Correspondence." During processing it became clear that the gallery delineated operations into three main functions: artist relations, client-dealer relations, and exhibitions. Consequently the collection is arranged as three main series based on these areas of concern. A small group of miscellaneous photographs of artists constitutes an additional series at the end of the collection.

Originally paper records throughout the collection were generally arranged chronologically, although this order was not strictly adhered to. Frequently, correspondence and memoranda were attached to related records going back several years. To preserve the relationship between such documents, records stapled together in this way have been left together. They are arranged in reverse chronological order and filed in the folder corresponding to the primary date (i.e., the date of the first and most recent paper in the group). Researchers should be aware that date ranges provided on folders refer to the primary dates of documents contained therein and that some items in the folder may predate that range. Otherwise, the general chronological scheme has been retained throughout the collection, with undated material placed at the beginning of the appropriate file.

Printed material is arranged in chronological order, with undated material at the beginning of the folder, and may include press releases, exhibition announcements, exhibition catalogs, posters, clippings from newspapers, magazines, and journals, and other publicity material. Large amounts of printed material are broken down into several discrete folder units.

The most consistent labeling system for photographic material apparent throughout the collection was title of work of art. The majority of images are not dated with a printing date or the date that the work of art was produced, and although many of them have a processing number, these are by no means consistent and there are no master lists that can be used to interpret them. Consequently, images are arranged primarily by media type and then alphabetically by title. Untitled images are placed at the beginning of a media group; "the" in a title is ignored. Exceptions to this method are addressed in the appropriate series descriptions.

Files labeled "Photographs of Works of Art" will typically include any or all of the following: black-and-white copy prints, black-and-white transparencies, color transparencies, slide transparencies, Polaroid prints, color snapshots, contact sheets, and separation sheets. Often the same image will be duplicated in several different formats. Any notes on photographic material found in or on the original folder in which the material was filed have been preserved with the material or transcribed onto a sheet of acid-free paper that either encloses or is placed directly before the item to which the information applies.

The designation "General" indicates that a file may contain any or all of the types of material outlined above.

Missing Title

Series 1: Artist Files, 1851-1991, undated (Boxes 1-23; 23 linear ft.)

Series 2: General Business Files, 1960-1991, undated (Boxes 24-28; 4.74 linear ft.)

Series 3: Group Exhibition Files, 1960-1988, undated (Boxes 28-29; 1 linear ft.)

Series 4: Photographs of Artists, undated (Box 29; 0.25 linear ft.)
Historical Note:
Robert Schoelkopf, Jr., was born in Queens, New York, in 1927. He graduated from Yale College in 1951 with a bachelor of arts degree and then taught briefly at his alma mater while conducting graduate research in art history. Schoelkopf began his career in commercial art in 1957 as an independent dealer of American painting and sculpture and became a member of the Art Dealers Association of America in 1958. In 1959 he formed a partnership with Virginia Zabriskie, of the Zabriskie Gallery in New York, which lasted until 1962. The gallery exhibited late-nineteenth and early-twentieth-century American painting, together with contemporary painting of a somewhat conservative style.

In 1962 Schoelkopf signed a three-year lease for the fourth floor of a building at 825 Madison Avenue in New York, where he opened the Robert Schoelkopf Gallery. From the outset, Schoelkopf aimed to specialize in American painting of the nineteenth and twentieth century and sculpture of all schools. He predicted a burgeoning market for the Hudson River School in particular, believing that American painting was increasingly perceived as being worthy of serious attention. In a letter dated January 3, 1963, Schoelkopf congratulated John Spencer for his decision to collect nineteenth-century American paintings for the Allen Memorial Art Museum at Oberlin College, assuring him that "progressive chauvanism [ sic] will operate to elevate prices in American painting. Every year more colleges teach Art History, and soon they shall have reached the level of sophistication and development where they will be obliged (for face) to offer tuition in specifically American art - hitherto neglected of academicians.... I and many other dealers have plans for exhibitions of nineteenth-century American painting, especially the Hudson River School."

Schoelkopf's instincts regarding the Hudson River School were undoubtedly correct, and consequently nineteenth-century American painters formed a permanent mainstay of his inventory. He is perhaps remembered more, however, for his dedication to reviving interest in lesser-known American painters from the turn-of-the-century who were impressionist or modernist in style. Schoelkopf developed something of a reputation for unearthing forgotten talent that, while sometimes mediocre or inconsistent, was occasionally exceptional and certainly worthy of note. He was committed to reinstalling Joseph Stella in the pantheon of major American artists, representing Stella's estate from 1963 to 1971 and holding regular exhibitions of the artist's work from 1962 on. In 1969 the gallery held the first New York exhibition of the paintings of Manierre Dawson, who was subsequently acclaimed by the critics for his important and innovative contributions to modernism. In 1970 Schoelkopf began showing the work of Jan Matulka, an artist whose work had been neglected since the 1930s, and his enthusiastic representation of the Matulka estate paved the way for a retrospective at the Whitney Museum of American Art in 1979.

Schoelkopf's interest in turn-of-the-century artists also extended to sculptors such as John Flannagan, Ethel Myers, Elie Nadelman, and John Henry Bradley Storrs, and he directed considerable energy to furthering Gaston Lachaise's reputation as an artist of major stature. When Lachaise died at the peak of his career in 1935, his estate was left to his wife, Isabel, and in 1957 to Isabel's son, Edward. When Edward died shortly thereafter, John B. Pierce, Jr., a nephew of Isabel Lachaise, was appointed trustee of the estate and formed the Lachaise Foundation. In 1962 Pierce entered an agreement with Robert Schoelkopf and Felix Landau to represent Lachaise's sculpture on the East and West Coasts, respectively. In this capacity Schoelkopf helped to launch a major retrospective of the artist's work at the Whitney Museum of American Art in 1964 and a traveling exhibition that began circulating in 1967.

The gallery's other major commitment was to painting and sculpture by contemporary American realists, many of whom worked in a figurative style and explored elements of allegory and classical mythology in their work, presenting landscapes, still lifes, and portraits from a realist perspective. The bulk of the gallery's exhibitions were, in fact, of work by contemporary artists, including metaphysical still-life painter William Bailey, colorist Leland Bell, figurative painter Martha Mayer Erlebacher, landscape and narrative painter Gabriel Laderman, and Icelandic artist Louisa Matthiasdottir. William Bailey was one of the gallery's most commercially successful artists, and his first one-person exhibition in New York was held there in 1968. Demand for Bailey's paintings often far exceeded his output, and by the late 1970s Schoelkopf invariably sold out his exhibitions and had compiled a lengthy waiting list for his work.

In its early years the Robert Schoelkopf Gallery contributed considerably to the development of interest in fine art photography that fostered an increasingly lucrative market for photographic prints during the 1960s and 1970s. In 1965 Schoelkopf began incorporating photography into the gallery's exhibition schedule and, in the spring of 1974, opened a gallery dedicated to photography on the second floor at 825 Madison Avenue. Between 1965 and 1979 Schoelkopf's was the only serious New York gallery dealing in painting and sculpture that also regularly exhibited photography as fine art. His interests lay primarily in antiquarian photography and the work of nineteenth-century and twentieth-century masters including Eugéne Atget, Mathew Brady, James Robertson, and Carleton Watkins. Schoelkopf organized shows examining specific photographic processes, the photogravure and the cyanotype, and presented surveys of genres such as portrait and landscape photography. In 1967 he held the first exhibition in many years of the work of Julia Margaret Cameron, an important figure in the history of Victorian photography, timing it to coincide with a show at the Metropolitan Museum of Art that focused on Cameron as one of four Victorian photographers.

Schoelkopf also handled the work of several influential contemporaries, most notably Brassaï, Henri Cartier-Bresson, Walker Evans, and Gisèle Freund. The gallery held Freund's first exhibition in the United States in 1975 and was, for a time, the only place in New York where one could see and purchase prints by Cartier-Bresson. Schoelkopf began exhibiting Evans's work in 1966 and regularly thereafter, including a 1971 exhibition that coincided with a major retrospective at the Museum of Modern Art.

In the fall of 1976 the second-floor gallery space was turned over to Marcuse (Cusie) Pfeifer, then the gallery's director, who planned to use it to show the work of young photographers in a gallery under her own name. Schoelkopf continued to hold several photography exhibitions a year in the fourth-floor gallery but decided to concentrate primarily on nineteenth-century masters.

In March 1971 a fire in the building at Madison Avenue resulted in substantial water damage to the gallery space. Although very little of the inventory was destroyed, the incident forced Schoelkopf to close until September. This temporary loss of revenue compounded with a nationwide recession cut into Schoelkopf's financial resources and left him questioning his commission policy and his level of commitment to contemporary work in all media. A letter to artist Adolph Rosenblatt dated May 3, 1971, records how Schoelkopf had become increasingly disenchanted with "all contemporary work" and would begin taking 40 percent commission on sales, instead of 33.3 percent. "Beside the matter of enthusiasm is the matter of economics," Schoelkopf remarked, "and the last year and a half have been really dreadful for the art business."

This difficult period was followed immediately by more prosperous times. January 1973 proved to be the gallery's most successful month to date, encouraging Schoelkopf to purchase a house in Chappaqua, New York, later that year. In November 1974 Schoelkopf wrote to Anthony D'Offay that business "is as slow as it has ever been, but what sales we make are big ones" and revealed that auctions had, at that point, become his primary avenue for trade.

Around 1975 Schoelkopf's wife of eleven years, Laura Jane Schoelkopf, began working in the gallery. Although seemingly dubious of the work at first, she became a considerable asset to the business and reputedly complemented her husband's relationship with the gallery's contemporary artists through her warmth and hospitality, qualities often noted by artists who corresponded regularly with the couple.

The financial instability that characterized the 1970s undoubtedly influenced Schoelkopf's decision to cease exhibiting photography in 1979. By 1978 however, his investment in early-twentieth-century art appeared to be paying off. Jan Matulka, Joseph Stella, and John Henry Bradley Storrs had all been represented in exhibitions at major museums, and sales of their work had increased considerably. Gaston Lachaise's reputation continued to grow, and the traveling exhibition still circulated, garnering far more interest than had originally been anticipated.

Although contemporary artists continued to take up the largest portion of the gallery's changing exhibitions, Schoelkopf's interest in contemporary work was growing more conservative, tending toward a narrower focus on the narrative and allegorical. By 1979 he no longer exhibited contemporary sculpture, admitting to a lack of enthusiasm for the work of any of the current figurative sculptors and a dislike of all contemporary abstract work. In a letter to Lillian Delevoryas, dated March 17, 1982, he confessed, "With age has come a hardening of the aesthetic arteries perhaps. What we have been showing is realism, but getting tighter all the time."

In April 1984 the gallery was moved to 50 West Fifty-seventh Street, and, during the years that followed, the Schoelkopfs pared down the number of contemporary artists they represented, handling only those to whom they felt most strongly committed while continuing to specialize in nineteenth-century and early-twentieth-century American painting and sculpture. As the gallery approached its thirtieth anniversary, Schoelkopf's achievements were considerable. He had operated a successful New York gallery for almost three decades, rejuvenated the reputations of several important American artists, and was respected by artists and clients alike for the integrity, intelligence, and humor with which he conducted his business affairs. In 1987 he had been appointed to the board of trustees of the Williamstown Regional Art Conservation Laboratory. By this time he was also a member of the advisory board to the National Academy of Design, and in 1988 he became a co-trustee of the Joseph and Robert Cornell Memorial Foundation.

In March 1990, Robert Schoelkopf was diagnosed with leukemia and underwent a regimen of cancer treatment that resulted in a brief remission by the summer. Schoelkopf returned to work temporarily, but by 1991 his condition had worsened and he died in April of that year. Having known for some time that her husband's prognosis was poor, Laura Jane Schoelkopf had apparently decided that she would not continue the gallery in the event of his death. With the help of the youngest of their two sons, Andrew, she settled final accounts and assisted the gallery's contemporary artists in finding representation elsewhere before closing the business in August 1991.
Provenance:
Twenty-seven linear feet of records were donated to the Archives of American Art by Laura Jane Schoelkopf, Robert Schoelkopf's widow, and the Coe Kerr Gallery in 1991 and 1992. An additional gift of 3.4 linear feet was donated by Laura Jane Schoelkopf in 1996. The collection was reduced slightly during processing.
Restrictions:
The collection is open for research. Use 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:
Art, Modern -- 20th century  Search this
Works of art  Search this
Photography, Artistic  Search this
Realism  Search this
Art, American  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Gallery records
Illustrated letters
Photographs
Citation:
Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.robeschg
See more items in:
Robert Schoelkopf Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9773faf46-baaa-4d12-8e4f-cc58adc2787a
EDAN-URL:
ead_collection:sova-aaa-robeschg
Online Media:

The Big Round World of BOAC - Stop Off in Africa

Sponsor:
British Overseas Airways Corporation (BOAC)  Search this
Medium:
Poster, Advertising, Commercial Aviation
Dimensions:
2-D - Unframed (H x W): 101.6 x 63.5cm (40 x 25 in.)
Type:
ART-Posters, Original Art Quality
Country of Origin:
United Kingdom
Inventory Number:
A19960225000
Restrictions & Rights:
Usage conditions apply
See more items in:
National Air and Space Museum Collection
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv957342979-9e5d-4c1d-a875-beb49d54006d
EDAN-URL:
edanmdm:nasm_A19960225000
Online Media:

U.S. Airways Feel the Miles

Sponsor:
NationsBank Corp.  Search this
US Airways  Search this
Medium:
Poster, Advertising, Commercial Aviation
Dimensions:
2-D - Unframed (H x W): 91.3 × 61.3cm (2 11 15/16 × 2 ft. 1/8 in.)
Type:
ART-Posters, Original Art Quality
Country of Origin:
United States of America
Date:
1997
Inventory Number:
A19970612000
Restrictions & Rights:
Usage conditions apply
See more items in:
National Air and Space Museum Collection
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv974db108a-4ae6-4e48-b818-dfe8338ae398
EDAN-URL:
edanmdm:nasm_A19970612000
Online Media:

U.S. Airways Feel the Miles

Sponsor:
NationsBank Corp.  Search this
US Airways  Search this
Medium:
Poster, Advertising, Commercial Aviation
Dimensions:
2-D - Unframed (H x W): 91.3 × 61.3cm (2 11 15/16 × 2 ft. 1/8 in.)
Type:
ART-Posters, Original Art Quality
Country of Origin:
United States of America
Date:
1997
Inventory Number:
A19970612001
Restrictions & Rights:
Usage conditions apply
See more items in:
National Air and Space Museum Collection
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv93d2ac35b-7c7d-4366-b7c7-2f44558fa245
EDAN-URL:
edanmdm:nasm_A19970612001
Online Media:

Luchtverbindingen in 1933

Sponsor:
KLM Royal Dutch Air Lines  Search this
Medium:
Poster, Advertising, Commercial Aviation
Dimensions:
3-D (Unframed): 60.3 × 38.4cm (1 ft. 11 3/4 in. × 1 ft. 3 1/8 in.)
Type:
ART-Posters, Original Art Quality
Country of Origin:
Netherlands
Date:
1933
Inventory Number:
A19900553000
Restrictions & Rights:
Usage conditions apply
See more items in:
National Air and Space Museum Collection
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv901c8fd65-f450-4542-8db4-f95dbb37859e
EDAN-URL:
edanmdm:nasm_A19900553000
Online Media:

American Airlines Endless Summer Curacao

Sponsor:
American Airlines, Inc.  Search this
Artist:
Unimark International, 1964-1977  Search this
Medium:
Poster, Advertising, Commercial Aviation
Dimensions:
2-D - Unframed (H x W): 50.8 × 38.1cm (1 ft. 8 in. × 1 ft. 3 in.)
Type:
ART-Posters, Original Art Quality
Country of Origin:
United States of America
Date:
circa 1971
Inventory Number:
A19950147000
Restrictions & Rights:
Usage conditions apply
See more items in:
National Air and Space Museum Collection
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv978598e39-d160-4ea5-882f-c8bfaacaab3c
EDAN-URL:
edanmdm:nasm_A19950147000
Online Media:

Peru It's Braniff

Sponsor:
Braniff International Airways Co.  Search this
Medium:
Poster, Advertising, Commercial Aviation
Dimensions:
2-D - Unframed (H x W): 66 × 50.8cm (2 ft. 2 in. × 1 ft. 8 in.)
Type:
ART-Posters, Original Art Quality
Country of Origin:
United States of America
Date:
1953
Credit Line:
Braniff Airways, Incorporated Copyright 1926, 2021
Inventory Number:
A19860338000
Restrictions & Rights:
Usage conditions apply
See more items in:
National Air and Space Museum Collection
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv9fdfeda8d-0d37-496c-8e78-0ec9b1b99179
EDAN-URL:
edanmdm:nasm_A19860338000
Online Media:

Britain Jet There by BOAC

Sponsor:
British Overseas Airways Corporation (BOAC)  Search this
Medium:
Poster, Advertising, Commercial Aviation
Dimensions:
2-D - Unframed (H x W): 76.2 × 50.8cm (2 ft. 6 in. × 1 ft. 8 in.)
Type:
ART-Posters, Original Art Quality
Country of Origin:
United Kingdom
Date:
1969
Inventory Number:
A19960232000
Restrictions & Rights:
Usage conditions apply
See more items in:
National Air and Space Museum Collection
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv9ab2019db-f32e-4bff-93a1-5d2d0da74144
EDAN-URL:
edanmdm:nasm_A19960232000
Online Media:

Style and the city New York city fashion art : two decades of advertising drawings : 1955-1975 by Frederic A. Sharf with Morton Kaish and Alexandra B. Huff

Title:
New York city fashion art
Author:
Sharf, Frederic A. 1934-  Search this
Author:
Kaish, Morton 1927-  Search this
Huff, Alexandra B  Search this
Subject:
Sharf, Jean S Art collections  Search this
Museum of Fine Arts, Boston  Search this
Physical description:
72 pages illustrations (some color) 28 cm
Type:
Exhibitions
Expositions
Exhibition catalogs
History
Place:
New York (State)
New York
Massachusetts
Boston
New York (État)
Date:
2010
20th century
20e siècle
Topic:
Commercial art--History  Search this
Fashion drawing  Search this
Commercial art  Search this
Art publicitaire--Histoire  Search this
Dessin de mode  Search this
Art publicitaire  Search this
Art--Private collections  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1158693

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