De Erdely's handwritten autobiography, in Hungarian with a typed English translation, describing his years as an art student at the National Academy of Arts, Budapest, from 1919 to 1924; 15 scrapbooks, 1925-1968, containing clippings, exhibition announcements and catalogs, award certificates, 2 photographs of de Erdely in his studio, ca. 1929, de Erdely with jurors, photographs of works, and letters from art organizations regarding competitions and exhibitions; 258 photographs of works including a few portraits of de Erdely; 6 award medals, 1946-1954; award ribbons, 1949-1958; and an address book, ca. 1940.
Biographical / Historical:
Painter, printmaker; Los Angeles, Calif. Born in Budapest, Hungary. Studied at the Royal Academy of Art in Budapest. Came to United States in 1939. Settled in Los Angeles in 1940. Taught at the Pasadena Art Institute, 1944-1946, and the University of Southern California, 1945-1959.
Provenance:
Donated 1989 by Patricia Weaver, who inherited the papers from Louise Hartman Ronay, the mother of de Erdeley's widow, Edith. The English translation of the typescript autobiography was donated by the Huntington Library.
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.
The Little Gallery records measure 11.5 linear feet and date from 1918 to 1985. The collection documents Little Gallery's operations through artist, exhibition, and subject files, printed material, photographs, and one sound recording. The collection also includes personal and professional papers, photographs, and some printed material related to Marguerite (Peggy) and Albert deSalle.
Scope and Contents:
The Little Gallery records measure 11.5 linear feet and date from 1918 to 1985. The collection documents Little Gallery's operations through artist, exhibition, and subject files, printed material, photographs, and one sound recording. The collection also includes personal and professional papers, photographs, and some printed material related to Marguerite (Peggy) and Albert deSalle.
Artist files consist of photographs of artwork, correspondence, price lists, shipping information, biographical summaries, and some printed material pertaining to various artists represented at the Little Gallery. Two artists particularly documented in these records are Francis De Erdely and Jean Lamouroux, who were both friends of Peggy deSalle and her husband Albert.
Exhibition files contain correspondence, shipping information, price lists, inventories, publicity material, and several pieces of posterboard signage. Little Gallery's subject files consist of correspondence, photographs, financial information, printed material, and other items that relate to advertising, other galleries and museums, contributions of artwork, collectors, and more.
Peggy and Albert deSalle's personal and professional papers include papers related to Peggy's career as an artwork photographer, writings, correspondence with artists, price lists, inventories, artist biographies, and photographs that document Peggy deSalle's transition into selling the art of European craftsmen.
Printed material documents Little Gallery exhibitions and events, as well as activities of Peggy and Albert deSalle outside the gallery, artists, and events at other galleries and organizations. Also found is a deSalle family scrapbook.
Photographs are primarily of Peggy and Albert deSalle, gatherings with friends, and professional events, including interior and exterior photos of the Little Gallery.
Arrangement:
This collection is arranged as six series.
Series 1: Artist Files, 1950-1982 (Box 1-4; 4 linear feet)
Series 2: Exhibition Files, 1956-1975 (Box 5; .4 linear feet)
Series 3: Subject Files,1950-1988 (Box 5-9; 4 linear feet)
Series 4: Peggy and Albert deSalle Personal and Professional Papers, 1918-1985 (Box 9-11; 2.3 linear feet)
Series 5: Printed Material, 1922-1984 (Box 11, 13; .5 linear feet)
Series 6: Photographs, 1920s-1980s (Box 11-13, .4 linear feet)
Biographical / Historical:
Established in 1950 by Marguerite (Peggy) deSalle, the Little Gallery in Birmingham, Michigan was the first gallery in the region to deal in and exhibit contemporary art. Initially deSalle primarily handled the work of local artists starting out in their careers, and the work of faculty from the Cranbrook Academy of Art. deSalle's ex-husband and close friend, artist Zoltan Sepeshy, assisted her in meeting local artists to show at the gallery. Over time, Little Gallery added the works of artists from Europe, Africa, and other parts of the United States. deSalle also established a framing gallery in the basement, and showed jewelry and pottery in addition to paintings and sculptures.
Peggy deSalle (1903-1985) was born in Hungary where she lived until her family emigrated to New York when she was six years old. As a young woman she frequented the studio of Michigan painter Paul Honore, where she met Albert deSalle and Zoltan Sepeshy. In the 1920s she worked as a photographer for William Suhr, a restorer of paintings, at the Detroit Institute of Arts. While working there, she was offered the opportunity to learn photography at various museums in Europe, particularly Germany.
In the 1940s, prior to opening the Little Gallery, deSalle worked out of her home selling art, antiques, silver, goblets, bowls, and paintings brought to the United States by German political refugees. At one point her inventory was approximately 200 works of art.
Albert deSalle served in the U.S. army and was honorably discharged in 1918. In the 1920s and 1930s, deSalle performed in the theatre and worked in a secretarial and managerial capacity for artist Paul Honore. Not long after Peggy began Little Gallery, Albert joined the gallery's staff and remained there until his death in 1964.
In 1983, Peggy donated funds for the founding of the Peggy and Albert deSalle Gallery of Photography at the Detroit Institute of Art.
Provenance:
The papers were donated in 1985 by William E. Woolfenden as personal representative of the estate of Marguerite L. deSalle.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Little Gallery records, 1918-1985. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
An interview of Morris Broderson conducted 1998 March 11 and 13, by Paul J. Karlstrom, for the Archives of American Art, at Broderson's home, in Los Angeles, California.
Broderson discusses his childhood and family background and the way in which he saw the world as a congenitally hearing impaired person; his first meeting with Joan Ankrum, who was married at the time to Broderson's uncle, Morris Ankrum; Ankrum's special interest in him, recognizing a talent for drawing, encouraging his learning to speak, and arranging art lessons at an early age; his recognition of Ankrum's marital unhappiness and encouragement for her to leave her husband; his art education through private lessons with Francis De Erdely; enrollment at the University of Southern California, Los Angeles; his perspective on events in his relationship with Ankrum that led her to abandon her career as an actress and become an art dealer in order to show Broderson's work; exhibitions at the Ankrum Gallery; his favorite themes and subjects in his work and why he used them; his homosexuality and its possible reflection in his art; credit to Ankrum for her key role in his development as an artist; the role of his deafness in his interaction with the world and to a lesser extent, his artistic expression, but rejecting the idea that it was a determining factor; and his current series of paintings and hopes for the future.
Biographical / Historical:
Morris Gaylord Broderson (1928-2011) was a painter from Los Angeles, California.
General:
Originally recorded on 3 sound tape cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 2 hr., 8 min.
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.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Art -- Study and teaching -- California Search this
