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Louis Bouché papers

Creator:
Bouché, Louis, 1896-1969  Search this
Names:
Penguin Club (New York, N.Y.)  Search this
Wanamaker Gallery  Search this
Bacon, Peggy, 1895-1987  Search this
Bouché, Ernest  Search this
Bouché, Henri L.  Search this
Bouché, Jane  Search this
Bouché, Marian Wright, 1895-  Search this
Brook, Alexander, 1898-1980  Search this
Davidson, Jo, 1883-1952  Search this
Marsh, Reginald, 1898-1954  Search this
Pène du Bois, William, 1916-1993  Search this
Schmidt, Katherine, 1898-1978  Search this
Extent:
5.9 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Scrapbooks
Travel diaries
Drawings
Date:
1880-2007
Summary:
The papers of painter and muralist Louis Bouché measure 5.9 linear feet and date from 1880 to 2007. Found within the papers are biographical material; personal correspondence, including correspondence from the extended Bouché family; writings; financial records; printed material; four scrapbooks; artwork; and photographs of Bouché, his family and friends, and his work.
Scope and Contents:
The papers of painter and muralist Louis Bouché measure 5.9 linear feet and date from 1880 to 2007. Found within the papers are biographical material; personal correspondence, including correspondence from the extended Bouché family; writings; financial records; printed material; four scrapbooks; artwork; and photographs of Bouché, his family and friends, and his work.

Biographical material consists of family certificates and Bouché's curriculum vitae.

The bulk of the correspondence consists of letters from Bouché 's father to his mother, and of letters addressed to his daughter, Jane. These include letters Louis and Marian wrote to Jane, along with letters from her first husband, William Pène du Bois, during the early days of their courtship and marriage. The handful of letters directly addressed to Louis and Marian include correspondence from Peggy Bacon and Katherine Schmidt.

Writings include drafts of Bouché's autobiography, eight journals kept by Marian Bouché detailing their travels in the United States and abroad, four reminiscences of Bouché written by others, and a poem written by Peggy Bacon.

Personal business records consist of two ledger books, lists, and receipts documenting inventory and records of sales.

Printed material consists of clippings, exhibition announcements and catalogs, and periodicals related to Bouché's work. There are also three books from Bouché's personal library and exhibition announcements and catalogs from Walt Kuhn's Penguin Club and Wanamaker's Gallery.

Two scrapbooks include clippings, photographs, and printed material related to Bouché 's career. One scrapbook includes material related to the extended Bouché family, and one scrapbook consists of reproductions of works of art by modern French artists.

Photographic materials include ten photograph albums. Three are of Louis, Marian, and Jane, three are of Jane and her family, and four are of Louis' parents and sister's family. There are also loose prints and negatives of Bouché, his family and friends, and works of art.

Artwork consists of sketches and drawings by Louis, Jane, Henri, and Ernest Bouché. Additional sketches by Peggy Bacon, Alexander Brook, Jo Davidson, and Reginald Marsh are also included.
Arrangement:
This collection is arranged as 8 series.

Series 1: Biographical Materials, 1880-1964 (2 folders, Box 1)

Series 2: Correspondence, 1880-2003 (1.2 linear feet; Boxes 1-2)

Series 3: Writings, 1933-1995 (.9 linear feet, Boxes 2-3)

Series 4: Personal Business Records, 1930-1974 (4 folders, Box 3)

Series 5: Printed Material, 1900-1997 (.5 linear feet; Boxes 3, 6)

Series 6: Scrapbooks, 1880-1969 (.8 linear feet; Boxes 3, 7-8)

Series 7: Photographic Materials, 1890-1994 (2.3 linear feet; Boxes 3-5, 9-10)

Series 8: Artwork, 1870-1965 (10 folders; Boxes 5, 10)
Biographical / Historical:
Louis Bouché (1896-1969) was a painter, muralist, and educator who lived and worked in New York City.

Bouché was born in New York City to Henri and Marie Bouché. His father was an interior designer who worked with Stanford White and for Tiffany, and his grandfather, Ernest Louis Bouché, was a Barbizon school painter. After his father's death in 1909, his mother moved the family to Paris where Bouché attended art school at La Grand Chaumère. When the family moved back to America in 1915, Bouché enrolled at the Art Students League where he met fellow student and lifelong friend Alexander Brook. In 1916, Bouché was invited to become a member of Walt Kuhn's Penguin Club, and in 1918, he joined the stable of Charlie Daniel's Daniel Gallery. At this time, Bouché began exhibiting in shows organized by Julianna Force for the Whitney Studio Club, which later evolved into the Whitney Museum. In 1920, he was introduced to the Woodstock artist community and was a frequent summer resident at the colony.

Bouché met Marian Wright while they were both members of the Penguin Club, and they were married in 1921. Upon returning from their honeymoon, Bouché accepted a position managing exhibitions for Wanamaker's Belmaison Galleries, the first modern art gallery in a department store in New York. Their daughter Jane would later marry William Pène du Bois, son of Guy Pène du Bois, whom the Bouchés had known from their days in the Penguin Club. In 1926, Bouché separated from Wanamaker's and began taking commissions for mural and design work, eventually completing murals for the U.S. Department of the Interior, Radio City Music Hall, and the Pennsylvania Railroad. In addition to murals, Bouché did illustrative advertising work for various publications, including Condé Nast and Town and Country.

In 1936, Bouché joined the stable at Kraushaar Gallery, where he eventually exhibited a series of ten one-man shows. Bouché also held solo exhibitons at the Valentine Gallery, Staten Island Institute, Century Association, and Albany Institute. Beginning in 1943, Bouché taught for many years at the Art Students League and began teaching at the National Academy of Design in 1951. He received a Guggenheim Fellowship in 1936 and was the American Academy in Rome's artist in residence in 1960.

Louis Bouché died in Pittsfield, Massachusetts, on August 7, 1969.
Related Materials:
Also found in the Archives of American Art are two oral history interviews with Louis Bouché, one conducted by John Morse, August 7, 1959, and another by William Woolfenden on March 13, 1963.
Provenance:
A portion of the Louis Bouché papers were loaned for microfilming and subsequently donated by the artist and his wife in 1963 and from 1972 to 1973. Additions were donated by Bouché's daughter, Jane Bouché Strong, in several accretions dating from 1978 to 1988. In 2011, Anne Strong, Jane B. Strong's executor, donated additional materials to the Archives of American Art.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Louis Bouché papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Muralists -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Sketches
Scrapbooks
Travel diaries
Drawings
Citation:
Louis Bouché papers, 1880-2007. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.boucloui
See more items in:
Louis Bouché papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-boucloui
Online Media:

Karl Knaths papers

Creator:
Knaths, Karl, 1891-1971  Search this
Names:
Roseberg, Paul and Company  Search this
Einstein, Carl, 1885-1940  Search this
Hofmann, Hans, 1880-1966  Search this
Knaths, Karl, 1891-1971  Search this
Malevich, Kazimir Severinovich, 1878-1935  Search this
Mehler, F. A.  Search this
Meierhans, Joseph, b. 1890  Search this
Mocsanyi, Paul  Search this
Mondrian, Piet, 1872-1944  Search this
Phillips, Duncan, 1886-1966  Search this
Phillips, Marjorie, 1895-1985  Search this
Extent:
8.9 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Sketchbooks
Paintings
Manuscripts
Prints
Sketches
Transcripts
Date:
1890-1973
bulk 1922-1971
Summary:
The papers of cubist painter Karl Knaths measure 8.9 linear feet and date from 1890 to 1973, with the bulk of the materials dating from 1922 to 1971. The collection includes biographical material, personal and professional correspondence, four diaries, 22 notebooks and notes on theoretical color and compositional approaches to painting, published and draft copies of essays on art, miscellaneous printed material, 132 sketchbooks and other artwork.
Scope and Contents note:
The papers of cubist painter Karl Knaths measure 8.9 linear feet and date from 1890 to 1973, with the bulk of the materials dating from 1922 to 1971. The collection includes biographical material, personal and professional correspondence, four diaries, 22 notebooks and notes on theoretical color and compositional approaches to painting, published and draft copies of essays on art, miscellaneous printed material, and 132 sketchbooks and additional artwork.

Biographical material consists of a copy of Knaths's curriculum vitae, a press release, and miscellaneous personal financial records.

Correspondence in the collection documents Knaths's relationships with family, friends, and business associates after his move to Provincetown, Massachusetts in 1919. Notable correspondents include Duncan and Marjorie Phillips, artist Joseph Meierhans, and the gallery Paul Rosenberg and Co.

The papers include three of Knaths's personal diaries (1916-1919, 1948) and a diary written by F.A. Mehler in 1890. Additional writings include lecture notes from classes that Knaths both attended and taught; 22 notebooks that explore his interest in articulating a color and compositional theory of painting; loose notes on various artists, projects, and facets of painting; several of his completed essays on art, including "Decorative Material" and "Pictorial Analysis;" and a draft of his unpublished manuscript "Ornament and Glory." Writings by others include 15 lecture transcripts from courses taught by Hans Hofmann during the 1930s, Knaths's translations of essays by Piet Mondrian, Kazimir Malevitch, and Carl Einstein, and a biographical essay on Karl Knaths by Paul Mocsanyi.

Printed materials in the collection include clippings, exhibition catalogs, and programs related to Knaths's one-man exhibitions and group shows, and the books Syracuse University Centennial Collection of Art (1970) and Karl Knaths: Five Decades of Painting (1973).

The bulk of the collection consists of 132 sketchbooks and additional artwork. Sketchbooks date from the 1920s to the 1970s and document Knaths's early figurative and landscape studies and later explorations of cubist style and compositional experiments with color, line, and form. Additional artwork includes numerous color charts and diagrams that Knaths kept to inform his painting color palette; outlines of compositional works on both graphed and regular paper; loose pencil sketches and pastels of figures, landscapes, and compositional experiments; and finished paintings and prints.
Arrangement note:
The collection is arranged as 6 series:

Series 1: Biographical Material, circa 1950s-1971 (Box 1, 8; 6 folders)

Series 2: Correspondence, 1923-1971 (Box 1; .5 linear feet)

Series 3: Writings, 1890, 1916-1968 (Boxes 1-3, 8, OV 14, OV 19; 2 linear feet)

Series 4: Printed Material, circa 1920s-1973 (Box 3, OV 19; 10 folders)

Series 5: Sketchbooks, circa 1920s-1970s (Boxes 3-6, 9-13; 4.5 linear feet)

Series 6: Artwork, circa 1920s-1970s (Box 6, 13, OV 15-18, OV 20-22; 1.8 linear feet)
Biographical/Historical note:
Karl Knaths (1891-1971), born Otto G. Knaths, lived and worked in Provincetown, Massachusetts and was known for his cubist style of painting.

Knaths was born in Eau Claire, Wisconsin and studied at the Art Institute of Chicago in his early twenties. The 1913 Armory Show provided his first major encounter with modernist art styles and the works of Paul Cezanne and Vincent Van Gogh. In 1919, Knaths moved to Provincetown and began to explore cubist perspectives in his own work, which drew much of its inspiration from the fishing culture and landscapes of his Cape Cod environs. Intellectually curious and drawn to art theory, Knaths recorded his thoughts on composition rules, color classifications, and the potential intersections between music, space, and color theory in notebooks, notes, and sketchbooks throughout his career.

The patronage of art collector Duncan Phillips led to Knaths's first one-man show at the Phillips Collection in 1929. The following year, he landed a solo show at New York's Daniel Gallery. Knaths joined the Works Progress Administration in 1934 and painted murals and other works for a year and a half. From 1938 to 1950, he also taught painting and art theory during a six week course held at the Phillips Art School, and was a guest lecturer at Black Mountain College, North Carolina (1944) and the Skowhegan School of Painting and Sculpture in Maine (1948). From 1945 to 1971, he was represented by the art gallery Paul Rosenberg and Co. Knaths died in 1971 in his home in Provincetown, at the age of 80.
Related Archival Materials note:
The Archives of American Art holds one oral history interview with Karl Knaths conducted by Dorothy Seckler in 1962; a transcript of a 1968 lecture delivered by Knaths at the Provincetown Art Association in Provincetown, Massachusetts; and a 1955 video recording documenting Knaths's Cape Cod influenced artwork, directed by Jack Calderwood.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reel D81) including one sketchbook. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
In 1962, Karl Knaths lent the Archives of American Art a sketchbook and a selection of papers for microfilming. Upon Knath's death in 1972, these papers, excluding the sketchbook, along with additional materials, were willed to the Archives. His executor, Kenneth Desmarais, donated additional material from Knaths's estate in 1977 and 1980.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Karl Knaths papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painting -- Study and teaching  Search this
Painting -- Technique  Search this
Cubism  Search this
Painters -- Massachusetts -- Cape Cod  Search this
Art -- Technique  Search this
Color in art  Search this
Art -- Study and teaching  Search this
Genre/Form:
Diaries
Sketchbooks
Paintings
Manuscripts
Prints
Sketches
Transcripts
Citation:
Karl Knaths papers, 1890-1973, bulk 1922-1971. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.knatkarp
See more items in:
Karl Knaths papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-knatkarp
Online Media:

Oral history interview with Edith Gregor Halpert

Interviewee:
Halpert, Edith Gregor, 1900-1970  Search this
Interviewer:
Phillips, Harlan B. (Harlan Buddington), 1920-  Search this
Names:
C.W. Kraushaar Art Galleries  Search this
Daniel Gallery  Search this
Downtown Gallery (New York, N.Y.)  Search this
Ferargil Galleries  Search this
Grand Central Art Galleries  Search this
M. Knoedler & Co.  Search this
Montross Gallery  Search this
New Gallery (New York, N.Y.)  Search this
Bacon, Peggy, 1895-1987  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Barrie, Erwin S., 1886-1983  Search this
Benton, Thomas Hart, 1889-1975  Search this
Brackman, Robert, 1898-  Search this
Bridgman, George Brant, 1864-1943  Search this
Brixey, Richard de Wolfe  Search this
Cahill, Holger, 1887-1960  Search this
Calder, Alexander, 1898-1976  Search this
Cary, Elisabeth Luther, 1867-1936  Search this
Chase, William Merritt, 1849-1916  Search this
Coleman, Glenn O., 1887-1932  Search this
Crowninshield, Frank, 1872-1947  Search this
Daniel, Charles, 1878-1971  Search this
Davis, Stuart, 1892-1964  Search this
Demuth, Charles, 1883-1935  Search this
Deskey, Donald, 1894-  Search this
Dove, Arthur Garfield, 1880-1946  Search this
Dudensing, F. Valentine, 1892-1967  Search this
Fergusson, John Duncan, 1874-1961  Search this
Field, Hamilton Easter  Search this
Force, Juliana, 1876-1948  Search this
Ford, Ford Madox,, 1873-1939  Search this
Frost, Robert, 1874-1963  Search this
Fuller, R. Buckminster (Richard Buckminster), 1895-1983  Search this
Goodyear, A. Conger (Anson Conger), 1877-1964  Search this
Greenberg, Clement, 1909-1994  Search this
Halpert, Samuel, 1884-1930  Search this
Hartley, Marsden, 1877-1943  Search this
Hirsch, Stefan, 1899-1964  Search this
Hopkinson, Charles, 1869-1962  Search this
Hopper, Edward, 1882-1967  Search this
Johns, Jasper, 1930-  Search this
Kline, Franz, 1910-1962  Search this
Knox, Seymour H., 1898-1990  Search this
Kroll, Leon, 1884-1974  Search this
Kuhn, Walt, 1877-1949  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Laurent, Robert, 1890-1970  Search this
Lawrence, Jacob, 1917-2000  Search this
Levine, Jack, 1915-2010  Search this
Levy, Julien  Search this
Locke, Charles, 1899-  Search this
Luks, George Benjamin, 1867-1933  Search this
Léger, Fernand, 1881-1955  Search this
Marin, John, Jr., 1915?-1988  Search this
McBride, Henry, 1867-1962  Search this
Mellon, Paul  Search this
Mercer, Henry Chapman  Search this
Montross, N. E. (Newman E), 1849-1932  Search this
Noguchi, Isamu, 1904-1988  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Pascin, Jules, 1885-1930  Search this
Picasso, Pablo, 1881-1973  Search this
Pollock, Jackson, 1912-1956  Search this
Pound, Ezra, 1885-1972  Search this
Rivera, Diego, 1886-1957  Search this
Robinson, Edward G., 1893-1973  Search this
Rockefeller, Abby Aldrich  Search this
Saarinen, Aline B. (Aline Bernstein), 1914-1972  Search this
Saklatwalla, Beram K.  Search this
Sandburg, Carl, 1878-1967  Search this
Shahn, Ben, 1898-1969  Search this
Sheeler, Charles, 1883-1965  Search this
Siporin, Mitchell, 1910-1976  Search this
Soutine, Chaim, 1893-1943  Search this
Steichen, Edward, 1879-1973  Search this
Stein, Gertrude, 1874-1946  Search this
Stella, Frank  Search this
Stern, Louis E., 1886-1962  Search this
Stieglitz, Alfred, 1864-1946  Search this
Tannahill, Robert Hudson  Search this
Vollard, Ambroise, 1867-1939  Search this
Weber, Max, 1881-1961  Search this
Whitney, Gertrude Vanderbilt, 1875-1942  Search this
Williams, William Carlos, 1883-1963  Search this
Wittenberg, Philip, 1895-1987  Search this
Zerbe, Karl, 1903-1972  Search this
Zorach, Marguerite, 1887-1968  Search this
Zorach, William, 1887-1966  Search this
Extent:
436 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Date:
1962-1963
Scope and Contents:
An interview of Edith Halpert conducted 1962-1963, by Harlan Phillips, for the Archives of American Art.
Halpert speaks of her childhood in Russia and growing up in New York City; working at Bloomindale's, Macy's, Stern Brothers, and Cohen Goldman; her marriage to artist Sam Halpert, his health, and living in Paris in 1925; becoming an art student at the Academy of Design and feeling that Leon Kroll was an excellent art teacher until he began to correct her drawings; when George Bridgman thought she was ruining his class; the Lincoln Square Arcade, when she and Ernest Fiener and Robert Brackman would rent Conan's studio evenings and bring in instructors; how Newman Montross influenced her more than anybody about showing her art that she loved; burning all of her work because Kroll said she had no talent; receiving a painting from John Marin; her friendship and working relationship with Abby Rockefeller and other family members.
She recalls opening the Downtown Gallery, in Greenwich Village, in 1926; a brief history of modern art; many artists helping decorate the new Daylight Gallery in 1930 and the first show being called "Practical Manifestations of Art"; meeting Robert and Sonia Delaunay in France; when she refused to allow Ezra Pound to speak at one of the gallery lectures because of his anti-Semite remarks and William Carlos Williams and Ford Madox Ford argued with her over it; experiencing jealousy and professional attacks from other dealers; the successful "Pop" Hart show and book in 1929; the "Thirty-three Moderns" show in 1930 at the Grand Central Galleries; the Jules Pascin show in 1930; in America, most of the art buyers supporters of culture were women, until the WPA and World War II, when it became fashionable for men to be involved; Ambroise Vollard's advice on selling art; handling the frustrations of working in the art field; friendships with Stuart Davis,Charles Sheeler, and Ben Shahn; how artists work through dry periods in their creativity and the "Recurrent Image" show; a discussion on modern art galleries of New York City, such as Daniel, Knoedler, Ferargil, the New Gallery, 291, the Grand Central, Kraushaar, and Montross; her travels through Pennsylvania and Maine for good examples of folk art for the gallery; the "The Artist Looks at Music" show; the non-competitive spirit of the early modern American artists; of being saved financially in 1940 by selling a William Harnett painting to the Boston Museum and then renting new space for the gallery.
Also, Mitchell Siporin bringing Halpert and Edmund Gurry to Mitchell Field during World War II for a camouflage show and consequently Downtown Gallery artists and others were enlisted in the camouflage corps for the U.S. Air Force; Charles Sheeler and his wife find Halpert a house in Newtown, Conn.; her decision in 1933 to push folk art for acquisition by the William Rockhill Nelson Gallery in Kansas City, Missouri; her great concern about what to do with her folk art literature collection; dismay and that no one writes about the history of folk art and those responsible for its creation and popularity; Louis Stern hiring her to organize a municipal exhibit in Atlantic City, N.J., with Donald Deskey designing the furniture and Holger Cahill managing the publicity; Joe Lillie helping her meet Fiorello La Guardia and Joe McGoldrick in 1934 about a municipal show in New York City, but it is moved to Radio City Music Hall through Nelson Rockefeller; the "Salons of America" show; wanting articles written about art for love rather than art for investment; working with Aline Saarinen on her book, "Proud Possessors;" letters from Stuart Davis, William Zorach and others that hurt her feelings; enjoying giving educational lectures and considering retirement because of ill health; the desire to write a book on the history of trade signs in folk art; feeling that the young artists are being ruined by too much support without working for it; planning to write a book entitled, "Unsung Heroes," about artists brave enough to experiment; organizing a show in Russia at her own expense; later representing the U.S. in art at the "American National Exposition"; the agitators and success of the exposition; Alfred Stieglitz and Georgia O'Keeffe.
Halpert also recalls Juliana Force, Gertrude Vanderbilt Whitney, Yasuo Kuniyoshi, Buckminster Fuller, George Luks, Edsel Ford, Max Weber, Danny Diefenbacker, Hamilton Easter Field, Frank Stella, Glenn Coleman, Margaret Zorach, Diego Rivera, Frida Kahlo, Henry Mercer, Romany Marie, Edward G. Robinson, Paul Mellon, Charles Pollet, Alex Brook, Lunca Curass, Dorothy Lambert, Duncan Candler, Frank Rhen, Louis Rittman, Bea Goldsmith, Arthur Craven, Robert Frost, Philip Wittenberg, Caesar de Hoke, Richard deWolfe Brixey, Seymour Knox, Walt Kuhn, Elisabeth Luther Cary, Charles Locke, Duncan Fergusson, Mrs. Solomon Guggenheim, Bob Tannahill, David Thompson, Marsden Hartley, Erwin Barrie, Robert Laurent, Conger Goodyear, Henry McBride, Edward Hopper, Charles Daniel, William Merritt Chase, Charles Hopkinson, Thomas Hart Benton, Frank Crowninshield, Alfred Barr, Lord Duveen, Jacob Lawrence, John Marin Jr., Karl Zerbe, Franz Kline, Arthur Dove, Julian Levy, Jack Levine, Valentine Dudensing, Peggy Bacon, Stefan Hirsch, Gertrude Stein, Isamu Noguchi, Jasper Johns, Chaim Soutine, B. K. Saklatwalla; Fernand Leger, Pablo Picasso, Ben Shahn, Charles Demuth, Alexander Calder, Jackson Pollock, Edward Steichen, Carl Sandburg, Clement Greenberg, and others.
Biographical / Historical:
Edith Halpert (1900-1970) was an art dealer from New York, N.Y.
General:
Originally recorded on 7 tape reels. Reformatted in 2010 as 27 digital wav files. Duration is 32 hrs., 27 min.
Provenance:
This interview is part of the Archives of American Art 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. The transcript was microfilmed in 1996.
Topic:
Art -- Economic aspects  Search this
Art dealers -- New York (State) -- New York -- Interviews  Search this
Camouflage  Search this
Folk art -- Collectors and collecting  Search this
Function:
Art galleries, Commercial -- New York (State) -- New York
Identifier:
AAA.halper62
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-halper62

Daniel Gallery (Daniel, Charles)

Collection Creator:
Carnegie Institute, Museum of Art  Search this
Container:
Box 39, Folder 93
Type:
Archival materials
Date:
1917-1918
1920-1921
1923
1925
1928-1931
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Carnegie Institute Museum of Art records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.
See more items in:
Carnegie Institute, Museum of Art records
Carnegie Institute, Museum of Art records / Series 1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-carninst-ref2006

Katherine Schmidt papers

Creator:
Schmidt, Katherine, 1898-1978  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
circa 1921-1971
Summary:
The papers of painter and arts advocate Katherine Schmidt measure 0.2 linear feet and date from circa 1921 to 1971. Scattered correspondence, speeches, proposals, meeting minutes, and notes focus primarily on Schmidt's advocacy for federal and state government support of the arts. Printed materials includes exhibition catalogs, clippings, press releases documenting Schmidt's painting career and arts advocacy work. Photographs include portrait photos of Schmidt and photographs of Schmidt's drawings. There are two photographs taken by her first husband Yasuo Kuniyoshi of Schmidt with friends at a party.
Scope and Content Note:
The papers of painter and arts advocate Katherine Schmidt measure 0.2 linear feet and date from circa 1921 to 1971. Scattered correspondence, speeches, proposals, meeting minutes, and notes focus primarily on Schmidt's advocacy for federal and state government support of the arts. Printed materials includes exhibition catalogs, clippings, press releases documenting Schmidt's painting career and arts advocacy work. Photographs include portrait photos of Schmidt and photographs of Schmidt's drawings. There are two photographs taken by her first husband Yasuo Kuniyoshi of Schmidt with friends at a party. The papers contain little documentation of Kuniyoshi or their marriage.
Arrangement:
The collection is arranged into 4 series:

Series 1: Correspondence, 1939-1951, 1961 (Box 1; 3 folders)

Series 2: Business Records and Writings, 1940-1950 (Box 1; 7 folders)

Series 3: Printed Material, 1925-1971 (Box 1; 4 folders)

Series 4: Photographs, circa 1921-1930 (Box 1; 3 folders)
Biographical Note:
Katherine Schmidt (1898-1978) was born in Xenia, Ohio. She moved with her family to New York City, and around the age of 13 began attending Saturday classes at the Art Students League. She continued her art classes after high school and was taught by F. Luis Mora, Kenneth Miller, and John Sloan. While attending the Art Students League, Schmidt made many friends who would later become prominent members of the New York art community, including Peggy Bacon, Alexander Brook, Reginald Marsh, and Lloyd Goodrich. In 1919 she married fellow art student, Yasuo Kuniyoshi, in Ogunquit, Maine. They lived in Maine during the summers, but settled in Brooklyn, New York. Schmidt began working for Juliana Force at the Whitney Studio Club in 1923, where she also periodically exhibited her artwork. She taught sketching classes for the club and also did various other jobs for Force and Gertrude Vanderbilt Whitney until around 1930. Her work during this period consisted of drawings and paintings of landscapes, still lifes, and the homeless and unemployed.

In 1925 Schmidt and Kuniyoshi took their first trip to Europe, spending a year in Paris and Italy and visiting the studios of their American expatriate friends. After another brief trip to Europe in 1928, she and Kuniyoshi bought a house in Woodstock, New York, where they would spend several summers as part of a very active artists' community. In the late 1920s she exhibited and was represented by the Daniel Gallery in New York. In the early 1930s, she became affliated with Downtown Gallery where she became good friends with owner Edith Halpert. She and Kuniyoshi divorced in 1932 and a year later she married lawyer Irvine Shubert. In the 1930s Schmidt became dissatisfied with her artwork and had her last show at the Downtown Gallery in 1939, taking a hiatus from exhibiting for over twenty years.

During the 1930s and 1940s Schmidt became very active in promoting federal and state government support of the arts. She worked with Juliana Force and others on a New York State art bill in the early 1930s, and in 1941 testified for federal appropriations for the arts in Washington D. C. as part of the Citizens Committee for Government Arts Projects. She was also active in the Artists Equity Association.

Schmidt spent many years experimenting with different painting techniques and subjects, and in the late 1950s found a new motif that she pursued for the rest of her life: still lifes of discarded paper and dead leaves. Schmidt died in Sarasota, Florida in 1978 at the age of 79.
Related Material:
Also found at the Archives of American Art is an Oral History Interview with Katherine Schmidt, December 8-15, 1969, by Paul Karlstrom which includes a transcript available via the Archives of American Art's website.
Separated Material:
Also found at the Archives of American Art are materials lent for microfilming (reel 89) including correspondence concerning exhibitions, a scrapbook containing clippings, exhibition catalogs and announcements. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Katherine Schmidt lent material to the Archives of American Art for microfilming in 1971. The papers were donated in 1982 by Irvine J. Shubert, Schmidt's widower.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Katherine Schmidt papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Art and state  Search this
Women painters -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Katherine Schmidt papers, circa 1922-1971. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.schmkath
See more items in:
Katherine Schmidt papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-schmkath
Online Media:

James Britton diary, vol. XXVI

Creator:
Britton, James, 1878-1936  Search this
Subject:
Britton, James  Search this
World War, 1914-1918  Search this
Type:
Writings
Date:
1918 September 23 - 1919 January
Record number:
(DSI-AAA)16820
See more items in:
James Britton papers, circa 1905-1984, bulk 1905-1935
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_16820
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View James Britton diary, vol. XXVI digital asset number 1

Ferdinand Howald papers, 1918-1973

Creator:
Howald, Ferdinand  Search this
Subject:
Demuth, Charles  Search this
Hartpence, A. (Alanson)  Search this
Kent, Rockwell  Search this
Mouny, Jacques  Search this
O'Keeffe, Georgia  Search this
Stieglitz, Alfred  Search this
Bluemner, Oscar  Search this
Daniel, Charles  Search this
Topic:
Art -- Collectors and collecting  Search this
Record number:
(DSI-AAA_CollID)7807
(DSI-AAA_SIRISBib)209973
AAA_collcode_howaferd
Theme:
The Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209973

Ferdinand Howald papers

Creator:
Howald, Ferdinand  Search this
Names:
Bluemner, Oscar, 1867-1938  Search this
Daniel, Charles, 1878-1971  Search this
Demuth, Charles, 1883-1935  Search this
Hartpence, A. (Alanson)  Search this
Kent, Rockwell, 1882-1971  Search this
Mouny, Jacques  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Stieglitz, Alfred, 1864-1946  Search this
Extent:
86 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1918-1973
Scope and Contents:
60 letters received; a book of miniature photographs of, and catalogs and articles about, his art collection. Correspondents are Charles Daniel (owner of the Daniel Gallery, New York City), Daniel's associate Alanson Hartpence, and artists Charles Demuth, Oscar Bluemner, Rockwell Kent, Jacques Mouny, Georgia O'Keeffe, and Alfred Stieglitz.
Biographical / Historical:
Art collector.
Provenance:
Papers loaned by the Shawan family through the Columbus Gallery of Fine Arts.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Art -- Collectors and collecting  Search this
Identifier:
AAA.howaferd
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-howaferd

Max Kuehne papers

Creator:
Kuehne, Max, 1880-1968  Search this
Extent:
0.3 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1908-2001
Scope and Contents:
Color photocopies of Kuehne's diary, account books, address books, exhibition catalog, and photographs. Account books record the paintings, prints, frames, and pieces of furniture sold to prominent clients and galleries, among them Albert Barnes, Daniel Gallery, Durand-Ruel Gallery, Juliana Force, Albert Gallatin, Rockwell Kent, Knoedler Gallery, Ernest Lawson, Kenneth Hayes Miller, Charles Sheeler, and Gertrude Vanderbilt Whitney. There are also copies of photographs of the Kuehne's in New York and Rockport, Mass.
Biographical / Historical:
Painter, sculptor, etcher and furniture maker; New York, N.Y., and Rockport, Mass.
Related Materials:
Max Kuehne papers also at Syracuse University.
Provenance:
The documents were lent to the Hollis Taggart Galleries, New York City, for use in the exhibition Max Kuehne: Artist and Craftsman, May 24-June 23, 2001. Hollis Taggart Galleries made copies of the documents for the Archives of American Art. Kuehne's descendants continue to hold on to the original materials.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Painters -- New York (State) -- New York  Search this
Furniture designers -- New York (State) -- New York  Search this
Topic:
Furniture making  Search this
Picture frames and framing  Search this
Identifier:
AAA.kuehmaxp
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kuehmaxp

Oral history interview with Edith Gregor Halpert, 1962-1963

Interviewee:
Halpert, Edith Gregor, 1900-1970  Search this
Interviewer:
Phillips, Harlan B. (Harlan Buddington),, 1920-  Search this
Subject:
Bacon, Peggy  Search this
Barr, Alfred H., Jr.  Search this
Barrie, Erwin S.  Search this
Benton, Thomas Hart  Search this
Brackman, Robert  Search this
Bridgman, George Brant  Search this
Brixey, Richard de Wolfe  Search this
Cahill, Holger  Search this
Calder, Alexander  Search this
Cary, Elisabeth Luther  Search this
Chase, William Merritt  Search this
Coleman, Glenn O.  Search this
Crowninshield, Frank  Search this
Daniel, Charles  Search this
Davis, Stuart  Search this
Demuth, Charles  Search this
Deskey, Donald  Search this
Dove, Arthur Garfield  Search this
Dudensing, F. Valentine  Search this
Fergusson, John Duncan  Search this
Field, Hamilton Easter  Search this
Force, Juliana  Search this
Ford, Ford Madox  Search this
Frost, Robert  Search this
Fuller, R. Buckminster (Richard Buckminster)  Search this
Goodyear, A. Conger (Anson Conger)  Search this
Greenberg, Clement  Search this
Halpert, Samuel  Search this
Hartley, Marsden  Search this
Hirsch, Stefan  Search this
Hopkinson, Charles  Search this
Hopper, Edward  Search this
Johns, Jasper  Search this
Kline, Franz  Search this
Knox, Seymour H.  Search this
Kroll, Leon  Search this
Kuhn, Walt  Search this
Kuniyoshi, Yasuo  Search this
Laurent, Robert  Search this
Lawrence, Jacob  Search this
Léger, Fernand  Search this
Levine, Jack  Search this
Levy, Julien  Search this
Locke, Charles  Search this
Luks, George Benjamin  Search this
Marin, John, Jr.  Search this
McBride, Henry  Search this
Mellon, Paul  Search this
Mercer, Henry Chapman  Search this
Montross, N. E. (Newman E)  Search this
Noguchi, Isamu  Search this
O'Keeffe, Georgia  Search this
Pascin, Jules  Search this
Picasso, Pablo  Search this
Pollock, Jackson  Search this
Pound, Ezra  Search this
Rivera, Diego  Search this
Rockefeller, Abby Aldrich  Search this
Robinson, Edward G.  Search this
Saarinen, Aline B. (Aline Bernstein)  Search this
Saklatwalla, Beram K.  Search this
Sandburg, Carl  Search this
Shahn, Ben  Search this
Sheeler, Charles  Search this
Siporin, Mitchell  Search this
Soutine, Chaim  Search this
Steichen, Edward  Search this
Stein, Gertrude  Search this
Stella, Frank  Search this
Stern, Louis E.  Search this
Stieglitz, Alfred  Search this
Tannahill, Robert Hudson  Search this
Vollard, Ambroise  Search this
Weber, Max  Search this
Wittenberg, Philip  Search this
Whitney, Gertrude Vanderbilt  Search this
Williams, William Carlos  Search this
Zerbe, Karl  Search this
Zorach, William  Search this
Zorach, Marguerite  Search this
C.W. Kraushaar Art Galleries  Search this
Daniel Gallery  Search this
Downtown Gallery (New York, N.Y.)  Search this
Ferargil Galleries  Search this
Grand Central Art Galleries  Search this
M. Knoedler & Co.  Search this
Montross Gallery  Search this
New Gallery (New York, N.Y.)  Search this
Topic:
Art -- Economic aspects  Search this
Art dealers -- New York (State) -- New York -- Interviews  Search this
Camouflage  Search this
Folk art -- Collectors and collecting  Search this
Record number:
(DSI-AAA_CollID)13220
(DSI-AAA_SIRISBib)214627
AAA_collcode_halper62
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_214627
Online Media:

Oral history interview with Peter Hutchinson, 1967 July 27

Interviewee:
Hutchinson, Peter A., 1930-  Search this
Interviewer:
Seckler, Dorothy Gees, 1910-1994  Search this
Subject:
Kuwayama, Tadaaki  Search this
Judd, Donald  Search this
Morris, Robert  Search this
LeWitt, Sol  Search this
Smithson, Robert  Search this
McLuhan, Marshall  Search this
Type:
Sound recordings
Interviews
Topic:
Humanism in art  Search this
Sculptors -- Massachusetts -- Provincetown -- Interviews  Search this
Record number:
(DSI-AAA_CollID)13123
(DSI-AAA_SIRISBib)215661
AAA_collcode_hutchi67
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_215661

Oral history interview with Peter Hutchinson

Interviewee:
Hutchinson, Peter A., 1930-  Search this
Interviewer:
Seckler, Dorothy Gees, 1910-1994  Search this
Names:
Judd, Donald, 1928-1994  Search this
Kuwayama, Tadaaki, 1932-  Search this
LeWitt, Sol, 1928-2007  Search this
McLuhan, Marshall, 1911-1980  Search this
Morris, Robert, 1931-2018  Search this
Smithson, Robert  Search this
Extent:
1 Cassette (Sound recording (ca. 30 min.), analog)
17 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Cassettes
Pages
Sound recordings
Interviews
Date:
1967 July 27
Scope and Contents:
An interview of Peter Hutchinson conducted 1967 July 27, by Dorothy Seckler, for the Archives of American Art.
Hutchinson speaks of his childhood and early education in the English countryside; his subsequent time spent in the army; his decision to move to the states and attend college in Illinois; his artistic destiny realized during his first year in college; his seven year experience working his way through college; his time spent in Italy in the early 60's; his early mathematic, Nevelson-like wood works; his relationship to the Jack Daniels Gallery and the "nucleus of thought" consisting of Sol LeWitt , Robert Smithson, Tadaaki Kuwayama; his feelings as to the blurred line between art and writing; the stimulation process involved in all art forms; his creative process consisting primarily of thought; his progression from construction, to painting, to painting on shaped canvas and wood; the requisite direct relationship between art and the artist; his position on the contemporary debate over the supremacy of painting or sculpture; his prediction that Judd and Morris are painting themselves into a corner; the importance of artistic dialogue; the possibility of a redefinition of humanism; his interest in Science Fiction and his recent publication of "Is there Life on Earth;" the importance of "thinking in reverse;" his decision in recent years to replace personal references with personal shapes; his opposition to the term creativity; his similar position to McLuhan with his belief in every man as an artist; his foresight of an eventual "devaluation of monetary attainment;" and his belief that art (self-expression) will always exist in one form or another. Hutchinson discusses his work and its development, and he comments upon the aesthetic climate of the day. He discourses on science fiction.
Biographical / Historical:
Peter A. Hutchinson (1930- ) is a sculptor from Provincetown, Mass.
Provenance:
This interview is 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 administrators.
Topic:
Humanism in art  Search this
Sculptors -- Massachusetts -- Provincetown -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.hutchi67
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hutchi67

Oral history interview with Louis Bouché, 1963 March 13

Interviewee:
Bouché, Louis George, 1896-1969  Search this
Interviewer:
Woolfenden, William E. (William Edward), 1918-1995  Search this
Subject:
Arensberg, Walter  Search this
Duchamp, Marcel  Search this
Gaylor, Wood  Search this
Gleizes, Albert  Search this
Kuhn, Walt  Search this
Pascin, Jules  Search this
Quinn, John  Search this
Freytag-Loringhoven, Elsa von  Search this
Penguin Club (New York, N.Y.)  Search this
Wanamaker Gallery of Modern Decorative Art  Search this
Type:
Sound recordings
Interviews
Topic:
Painters -- New York (State) -- New York -- Interviews  Search this
Record number:
(DSI-AAA_CollID)13344
(DSI-AAA_SIRISBib)212072
AAA_collcode_bouch63
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212072

Max Kuehne papers, 1908-2001

Creator:
Kuehne, Max, 1880-1968  Search this
Topic:
Furniture making  Search this
Picture frames and framing  Search this
Record number:
(DSI-AAA_CollID)5967
(DSI-AAA_SIRISBib)227905
AAA_collcode_kuehmaxp
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_227905

Charles Daniel papers, 1950-1967

Creator:
Daniel, Charles, 1878-1971  Search this
Subject:
Burroughs, Bryson  Search this
Demuth, Charles  Search this
Kent, Rockwell  Search this
Walker, Dorothy C.  Search this
Schary, Saul  Search this
Record number:
(DSI-AAA_CollID)7316
(DSI-AAA_SIRISBib)209469
AAA_collcode_danichar
Theme:
Diaries
The Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209469

Kootz Gallery records

Creator:
Kootz Gallery  Search this
Names:
Baziotes, William, 1912-1963 -- Photographs  Search this
Braque, Georges, 1882-1963  Search this
Hare, David, 1917-1992  Search this
Hofmann, Hans, 1880-1966 -- Photographs  Search this
Kootz, Samuel M., 1898-1982  Search this
Marca-Relli, Conrad, 1913-2000 -- Photographs  Search this
Mathieu, Georges, 1921 -- Photographs  Search this
Picasso, Pablo, 1881-1973 -- Photographs  Search this
Pierre Soulages, 1919- -- Photographs  Search this
Ronald, William, 1926 -- Photographs  Search this
Sugai, Kumi, 1919 -- Photographs  Search this
Extent:
7.1 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Signatures (names)
Notes
Date:
1923-1966
Summary:
The records of modernist New York City Kootz Gallery measure 7.1 linear feet and date from 1923-1966. They consist of scattered correspondence and exhibition files; photograph files of artists, including ones for Picasso, William Baziotes, and Hans Hofmann, among many others; 23 scrapbooks; photographs and slides of the gallery and exhibitions; and scattered personal papers of Samuel M. Kootz.
Scope and Contents note:
The records of modernist New York City Kootz Gallery measure 7.1 linear feet and date from 1923-1966. They consist of scattered correspondence and exhibition files; photograph files of artists, including ones for Picasso, William Baziotes, and Hans Hofmann, among many others; 23 scrapbooks, photographs and slides of the gallery and exhibitions; and scattered personal papers of Samuel M. Kootz.

There are two folders of scattered routine incoming letters. Three folders of exhibition files contain limited documentation of the 1952 Kootz Gallery exhibition "To South America," and printed material related to the 1951 exhibition "Art for a Synagogue" held at the Synagogue of Congregation B'nai Israel in Millburn, New Jersey.

Artists' Photograph Files contain mostly photographs of 52 artists, their artwork, and their exhibitions. In addition to photographs, there is one folder of artists' autographs. Pablo Picasso and Hans Hofmann's close friendship with Kootz is reflected in this series, as numerous informal personal photos are found in their respective files. A few folders also contain documents, such as transcript notes for a lecture and other writings by Hans Hofmann and a brief review of the work of Georges Braque and David Hare.

Printed Material consists of exhibition announcements and catalogs, advertisements, and newspaper and magazine clippings on the gallery and artists associated with the gallery. There are catalogs for Kootz Gallery exhibitions, including "The Intrasubjectives" show of 1949.

Twenty-three scrapbooks date from 1931 through 1966 and include exhibition announcements, catalogs, photographs, clippings, and miscellaneous printed material. Scrapbook 1, 1947-1948, focuses on Pablo Picasso. Scrapbooks 2-21 document approximately one year of Kootz Gallery events and press coverage from 1945 to 1966, and Scrapbooks 22-23, 1950-1958, focus on architectural models and exhibitions.

Photographic material includes photographs, transparencies, and slides of Kootz Gallery New York and Kootz Gallery Provincetown; interior design photographs showcasing Kootz Gallery artwork hanging in office and residential spaces; group and unidentified exhibitions; group and unidentified artists/artwork; and informal photographs of Samuel Kootz and of his wife, Jane.

Samuel Kootz Personal Papers consist of a cocktail party invitation and a copy of the 1923 Phi Epsilon Pi Quarterly, Vol. 6, No. 1.
Arrangement note:
The collection is arranged as 7 series:

Series 1: Correspondence, 1950-1962 (Box 1; 2 folders)

Series 2: Exhibition Files, circa 1944-1966 (Box 1; 3 folders)

Series 3: Artists Photographs Files, 1936-1966 (Boxes 1-2, 5; 1.5 linear feet)

Series 4: Printed Material, circa 1944-1966 (Boxes 2, 5; 0.5 linear feet)

Series 5: Scrapbooks, 1931-1966 (Box 3, BV 6-23; 4 linear feet)

Series 6: Photographic Material, circa 1944-1966 (Boxes 4-5; 11 folders)

Series 7: Samuel Kootz Personal Papers, circa 1923-1957 (Box 4; 2 folders)
Biographical/Historical note:
Samuel M. Kootz officially opened the Kootz Gallery in 1945 in New York City. In 1953, he opened a satellite gallery in Provincetown, Massachusetts that closed one year later.

Samuel M. Kootz (1898-1982) received his law degree from the University of Virginia in 1921 and practiced law briefly before moving to New York City to accept a job as an advertising account executive. While still in law school, he began visiting New York art galleries and was particularly drawn to works by modern artists that were showing at the Stieglitz Gallery and the Charles Daniel Gallery. In 1930, he independently published his first book, Modern American Painters and began to regularly contribute articles on painting and photography to various periodicals, including The Times. In 1942, he curated an abstract expressionist showcase for Macy's and published New Frontiers in American Painting one year later. Kootz's second book was one of the first to examine the emerging abstract expressionist movement and marked the beginning of his full transition into the art world.

In 1944, Kootz resigned from his advertising job to represent Robert Motherwell and William Baziotes as a professional art dealer. He officially opened the Kootz Gallery opened in 1945 and showcased the work of both American and European abstract expressionists, including Hans Hofmann and Adolph Gottlieb. In 1946, during the Kootz Gallery's preparation for Pablo Picasso's first one man exhibition in America, Picasso became quite friendly with Kootz and his wife Jane. Upon the artist's suggestion, Kootz agreed to close his gallery and represent Picasso and his other artists as a private dealer. Although this was a successful venture, Kootz missed the structure of an office and decided to reopen his gallery on Madison Avenue in 1949. The gallery's first show at the new location was "The Intrasubjectives," a term Kootz had coined for abstract expressionists. The exhibition included four artists from his stable, William Baziotes, Robert Motherwell, Adolph Gottlieb, and Hans Hofmann, along with Jackson Pollock, Arshile Gorky, Willem de Kooning, Mark Rothko, Ad Reinhardt, Morris Graves, Mark Tobey, and Bradley Walker Tomlin.

In 1953, Kootz opened a satellite gallery in Provincetown, Massachusetts that was managed and operated by gallerist Nathan Halper. In 1954, they mutually agreed to dissolve their partnership and Kootz focused his energies on his New York gallery, which grew to include Herbert Ferber, David Hare, Philippe Hosiasson, Ibram Lassaw, Conrad Marca-Relli, Georges Mathieu, Raymond Parker, William Ronald, Gerard Schneider, Emil Schumacher, and Pierre Soulages.

A number of factors, including competition from new galleries, commoditization of art by investment collectors, and the public's interest in emerging pop art, influenced Kootz's decision to close his gallery in 1966.
Related Archival Materials note:
Also found among the holdings of the Archives of American Art are oral history interviews with Samuel M. Kootz by John Morse on March 2, 1960 and by Dorothy Seckler on April 13, 1964. Records of Kootz Gallery are also interspersed among the records of Nathan Halper's galleries.
Separated Materials note:
Records loaned for microfilming in 1965 included eight articles from the publication Modern Artists in America (1951) which were not included in the later donation and are now available on microfilm reel NY65-1.
Provenance:
Samuel M. Kootz donated the gallery records in two increments in 1971. Nearly all of the same records had been loaned in 1965 for microfilming.
Restrictions:
Use of original papers requires an appointment. All scrapbooks are CLOSED due to their fragile condition; #1-#5 have been digitized and are available on the Archives of American Art's website, and #6-#23 are only available for use on microfilm reels 1318-1320 and 1322-1323.
Rights:
The Kootz Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art galleries, Commercial -- New York (State) -- New York  Search this
Art dealers -- New York (State) -- New York  Search this
Artists -- United States -- Exhibitions  Search this
Genre/Form:
Scrapbooks
Photographs
Signatures (names)
Notes
Citation:
Kootz Gallery records, 1923-1966. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kootgall
See more items in:
Kootz Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kootgall
Online Media:

Charles Daniel papers

Creator:
Daniel, Charles, 1878-1971  Search this
Names:
Burroughs, Bryson, 1869-1934  Search this
Demuth, Charles, 1883-1935  Search this
Kent, Rockwell, 1882-1971  Search this
Schary, Saul, 1904-1978  Search this
Walker, Dorothy C.  Search this
Extent:
85 Pages ((on 1 microfilm reel))
Type:
Collection descriptions
Archival materials
Pages
Date:
1950-1967
Scope and Contents:
Manuscripts, typescripts, and revisions of the tape-recorded reminiscences of Charles Daniel. The typescripts and editing were done by Dorothy C. Walker. In addition there are 5 letters from Daniel to Walker, 1950-1955, in which he discusses Charles Demuth, Bryson Burroughs, Saul Schary and Rockwell Kent; a letter to Walker's brother, Robert, 1964, an illustrated letter to Daniel from Saul Schary, 1966, written from Tehran, and a copy of a letter to Daniel from Joseph De Martini on Daniel's 89th birthday.
Biographical / Historical:
Art dealer; New York, N.Y. Opened Daniel Gallery Dec. 1913 at 2 W. 47th St.
Provenance:
Donated 1972 by Dorothy C. Walker.
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 dealers -- New York (State) -- New York  Search this
Identifier:
AAA.danichar
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-danichar

Oral history interview with Louis Bouché

Interviewee:
Bouché, Louis, 1896-1969  Search this
Interviewer:
Woolfenden, William E. (William Edward), 1918-1995  Search this
Names:
Penguin Club (New York, N.Y.)  Search this
Wanamaker Gallery of Modern Decorative Art  Search this
Arensberg, Walter, 1878-1954  Search this
Duchamp, Marcel, 1887-1968  Search this
Freytag-Loringhoven, Elsa von, 1874-1927  Search this
Gaylor, Wood, 1883-1957  Search this
Gleizes, Albert, 1881-1953  Search this
Kuhn, Walt, 1877-1949  Search this
Pascin, Jules, 1885-1930  Search this
Quinn, John, 1870-1924  Search this
Extent:
53 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1963 March 13
Scope and Contents:
An interview of Louis Bouché conducted on 1963 March 13, by William E. Woolfenden, for the Archives of American Art.
Bouché speaks of the Penguin Club, including Walt Kuhn's leadership, artists' balls, banquets and sketch classes; European artists at the Penguin Club including Jules Pascin, Albert Gleizes, and others; his association with the Daniel Gallery; his "lace curtain period"; his art education; teaching; working at Wanamaker's and the Folsom Gallery; Walter Arensberg's parties; and his father, Henri's career as a designer. Bouché recalls Marcel Duchamp, Samuel Wood Gaylor, Elsa von Freytag-Loringhoven, John Quinn, and others.
Biographical / Historical:
Louis Bouché (1896-1969) was a painter and teacher from New York, New York.
General:
Originally recorded on 2 sound tape reel. Reformatted in 2010 as 2 digital wav file. Duration is 2 hr., 2 min.
Provenance:
This interview is part of the Archives' 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.
Topic:
Painters -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.bouch63
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bouch63

Daniel Gallery exhibition catalogs, [undated] and 1916-1921

Creator:
Daniel Gallery  Search this
Subject:
Benton, Thomas Hart 1889-1975  Search this
Burlin, Paul 1886-1969  Search this
Coleman, Glenn O. 1887-1932  Search this
Demuth, Charles 1883-1935  Search this
Field, Hamilton Easter  Search this
Glackens, William J. 1870-1938  Search this
Halpert, Samuel 1884-1930  Search this
Kroll, Leon 1884-1974  Search this
Laurent, Robert 1890-1970  Search this
Lawson, Ernest 1873-1939  Search this
Lever, Hayley 1876-1958  Search this
Macdonald-Wright, Stanton 1890-1973  Search this
Manigault, Middleton 1887-1922  Search this
Noble, John 1874-1934  Search this
Ray, Man 1890-1976  Search this
Zorach, Marguerite 1887-1968  Search this
Zorach, William 1887-1966  Search this
Physical description:
29 items
Type:
Archival materials
Date:
1916
1916-1921
undated and 1916-1921
Local number:
AAA
Restrictions & Rights:
Patrons must use microfilm copy
See more items in:
Miscellaneous art exhibition catalog collection 1887-1934 bulk 1915-1925
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:siris_arc_215419

Jack Daniels gallery

Collection Collector:
Music, Sports and Entertainment, Division of, NMAH, SI  Search this
Sidney, George, 1916-2002  Search this
Collection Donor:
Sidney, Corinne Entratter  Search this
Container:
Box 75, Folder 32
Type:
Archival materials
Date:
undated
Collection Restrictions:
This collection is open for research use.

Researchers must handle unprotected photographs with cotton gloves. Researchers may use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis and as resources allow.

Viewing film portions of the collection requires special appointment, please inquire; listening to LP recordings is only possible by special arrangement.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view materials in cold storage. Using cold room materials requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Collection Rights:
The Archives Center does not own exclusive rights to these materials. All requests for permission to use these materials for non-museum purposes must be addressed directly to the Archives Center, and the Archives Center will forward the request to the copyright holder. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: fees for commercial use.
Collection Citation:
George Sidney Collection, Archives Center, National Museum of American History, gift of Corinne Entratter Sidney
See more items in:
George Sidney Collection
George Sidney Collection / Series 1: Photographs, Photographic Negatives, and Slides / 1.6: Travel and Locations
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0867-ref1193

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