Esther Bear Gallery (Santa Barbara, Calif.) Search this
Container:
Box 1, Folder 33
Type:
Archival materials
Date:
1962-1972
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Esther Bear Gallery records, 1928-1985. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Women's Committee.
Artist's files, including business correspondence, price lists and invoices, newspaper and magazine clippings, press releases, photographs and slides, exhibition announcements, and catalogs and brochures from artists represented by the Esther Robles Gallery.
Arrangement:
Files are arranged alphabetically.
Biographical / Historical:
Art gallery; Los Angeles, Calif. Est. 1947. Closed 1979.
Provenance:
Donated 2005 and 2009 by Robert Robles, husband and business partner of Esther Robles who died in 2001.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Foundation.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Lee Nordness business records and papers, circa 1931-1992, bulk 1954-1984. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collection Care Preservation Fund
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Terry Dintenfass, Inc. records, 1947-1987, bulk 1961-1983. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Foundation.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
KPFK "Art Scene" interviews, 1950-1969. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Council on Library and Information Resources "Hidden Collections" grant program.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Catherine Viviano Gallery records, 1930-1990, bulk 1949-1978. Archives of American Art, Smithsonian Institution.
The collection is open for research. Use requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Howard Wise Gallery records, 1943-1969. Archives of American Art, Smithsonian Institution.
This series consists of the business and personal correspondence of Edith Gregor Halpert and the Downtown Gallery. For the most part, this series is general business correspondence concerning routine activities of the Downtown Gallery, including the American Folk Art Gallery and the Daylight Gallery, both operated by the Downtown Gallery on the same premises. Included are correspondence with clients, employees, other galleries, and colleagues concerning sales, loans, purchases, appraisals, and so forth; arrangements for shipping, framing, photography, reproduction permissions, and insurance; and gallery housekeeping and improvements, ordering of supplies, and other administrative concerns.
Also included is personal correspondence of Edith Gregor Halpert. There are letters and greeting cards from nieces, nephews, and other relatives; correspondence with longtime friends, including some who were art collectors, museum curators, or museum directors; and correspondence concerning upkeep and improvement of her Newtown, Connecticut, country home and entertaining there.
See Appendix A for a list of selected correspondents from Series 1
Arrangement note:
Letters (with enclosures) are arranged chronologically, with those of the same date alphabetized by name of correspondent; undated material is arranged alphabetically, followed by unidentified correspondents and letters bearing illegible signatures.
Box numbers provided in the Container Listing are approximate.
Appendix A: List of Selected Correspondents in Series 1:
Names and titles indicated in this list are those that appear on the letters. Where appropriate, terms have been standardized and cross-referencing provided. Because filing is not always consistent, researchers are advised to check both the name of an individual and the institution that he or she represented.
Abate Associates, Inc., 1956
Abbot and Land, 1965
Abbot, B. Vincent, 1944
Abbot, Bernice, 1957
Abbot, John E., 1945, 1948
Abbot Laboratories, 1950, 1952
ABC Employment Agency, 1951
Richard Abel and Co., Inc., 1968
Abendroth, Robert W., 1966-1967
Abercrombie and Fitch Co., 1962
Abilene Museum of Fine Arts, undated, 1949, 1954
Abingdon Square Painters, 1965
Abraham and Straus, 1930, 1960, 1965-1966, 1968
Abraham, Mae C., 1965
Abrahamsen, Mrs. David, 1962
Abramowitz, M., 1958
Harry N. Abrams, Inc., 1958-1960, 1965-1966, 1968-1969
"HemisFair '68," 1968 (see also: "International Exposition, HemisFair '68")
Hemmenway, Catherine C., 1961
Hemmingsen, R. V., 1963
Hemmingson, Victoria, 1965
Henderson, Hanford, 1960
Henderson, Priscilla A. B. (Mrs. A. I.), 1934-1955
Henderson, Ray, 1956
Hendrick, Mrs. James Pomeroy, 1961
Heninger, Helen, undated, 1963, 1969
Henquet, Roger, 1948, 1965
Henri, Robert, 1926-1927
Henry, David T., 1964
Henry, Helen (Mrs. Charles), undated, 1949
Henry, James F., 1958
Henry Street Settlement, 1958, 1962-1963
Hentschel, R. A. A., 1951-1954
Hepburn, Katharine, 1952
Herbert, Elmer, 1962
Herbert, James D., 1962
Herider, Ed. L., 1961
Heritage Gallery, 1960, 1964
Herman, Stanley, 1964
Herman, Vic, 1968
Herring, Audrey L., 1964
Herrington, Nell Ray (Mrs. A. W. S.), 1962, 1965
John Herron Art Institute, undated, 1934, 1949, 1951, 1953, 1957-1958, 1962-1964, 1967 (see also: Art Association of Indianapolis; Art School of the John Herron Art Institute)
Hertslet, G. Gordon, 1962, 1966
Hertz, Richard C., 1965
Hertzberg, Stuart E., 1967-1968
Heschel, Mrs. Abraham, 1961
Hess, Elaine Marie, 1965
Hess, Mrs. Thomas B., 1954
Hetzel, Margaret deL. (Mrs. Joseph L.), 1948
Hewitt, Ada M., 1953
Edwin Hewitt Gallery, 1953
Heydenryk, Henry, 1954, 1960, 1964
Heynick, Carla Marian, 1965
Hickok, M., 1958
Hiddens, Mrs. Earl, 1952
Hiersoux, Arne, 1966
Hi Fi/Stereo Review, 1960
High Museum of Art, 1950, 1955, 1961-1962, 1965-1968 (see also: Atlanta Art Association; Atlanta Art Association and High Museum of Art)
Highway Antique Shop, 1954
R. Hill and Son, Ltd., 1960
Hill, Ralph Nading, 1952, 1962
Hille, Elise B., undated
Hille and Curran, 1954
Hilleman, Alex L., 1956
Hiller, Paula, 1962
Hilles, Mrs. Frederick W., 1956
Hillman, Mrs. Joel, II., 1960
Hillside Hospital Clinic, 1949, 1953
Hillstrom, Richard L., 1958, 1962, 1964-1965
Hilltop Theatre, Incorporated, 1952
Hilsenrath, Yakov R., 1965
Hilson, Catherine [Katy] and/or John S., undated, 1958-1959, 1961-1966
Himel, Irving, 1963
Himmelsfarb, Samuel, 1955
Hines, Felrath, 1961
Hinkhouse, Inc., 1960, 1964
Hirsch, B., 1961
Hirsch, E. W., 1954
Hirschberg, J. Cotter, 1956
Hirschl and Adler Galleries, Inc., 1958, 1960, 1963-1965, 1968
Hirschland, Dr. and/or Mrs. F. H., undated, 1959
Hirschland, Paul Michael, 1945
Hirschburg, Mrs. Roy, undated
S. A. Hirsh Manufacturing Co., 1966
Hirshberg, Henrietta, 1961
Hirshhorn, Mrs. Arthur, 1960
Hirshhorn, Joseph H., 1946, 1948, 1951-1954, 1956, 1960, 1963, 1965
Joseph H. Hirshhorn Collection, 1959-1960, 1962-1963, 1965-1966
[incomplete; without signature], undated, 1953, 1961, 1967, 1968
Collection Restrictions:
The microfilm of this collection has been digitized and is available online via the Archives of American Art website.
Collection Rights:
The Downtown Gallery records are owned by the Archives of American Art, Smithsonian Institution. 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. Prior to publishing information regarding sales transactions, researchers are responsible for obtaining written permission from both artist and purchaser involved. If it cannot be established after a reasonable search whether an artist or purchaser is living, it can be assumed that the information may be published sixty years after the date of sale.
Collection Citation:
Downtown Gallery records, 1824-1974, bulk 1926-1969. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing, microfilming and digitization of the microfilm of this collection was provided by the Henry Luce Foundation. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Will Barnet papers, 1897, 1929-2016. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art. Funding for the preservation and transfer of motion picture film was provided by the Smithsonian Women's Committee.
Correspondence is primarily with Barnet's family, friends, fellow artists, and business associates discussing personal relationships, teaching and lecturing appointments, gallery sales, and exhibitions. Correspondents of note include Cameron Booth, Henry Pearson, Angelo Savelli, Harry Sternberg, Jon Von Wicht, Esther Robles Gallery, and the Waddell Gallery (formerly Grippi and Waddell). There is substantial correspondence from mentored artists Christina Bothwell, George Lloyd, and Ik-Song Jin, and contemporary artist and friend Arnold Singer. The series also includes cards with original artwork sent by Barnet's friends.
Arrangement:
All correspondence is arranged alphabetically by correspondent, followed by unidentified, illegible, unsigned letters, and fragments.
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Will Barnet papers, 1897, 1929-2016. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art. Funding for the preservation and transfer of motion picture film was provided by the Smithsonian Women's Committee.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Perls Galleries records, 1937-1997. Archives of American Art, Smithsonian Institution.
An interview of Joni Gordon conducted 2002 July 8-Sept. 23, by Paul Karlstrom, for the Archives of American Art, in Gordon's home, Los Angeles, Calif.
She discusses her personal and educational background; the origins and purposes of Newspace Gallery; her experiences with the Ferus Gallery, Esther Robles Gallery, Frank Perls Gallery, and Felix Landau Gallery. Gordon also discusses her friendship with Betty Asher and Betty Parsons, who became her mentor in the gallery business. She relates that her interest in the promotion of local comtemporary artists led her along with her husband, Monte, and Robert Smith to organize the Los Angeles Institute of Contemporary Art (LAICA).
Biographical / Historical:
Joni Gordon (1936- ) is the owner and director of Newspace art gallery and an art collector from Los Angeles, Calif.
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. Funding for the transcription of this interview was provided by Joni Gordon.
Restrictions:
Transcript available on the Archives of American Art website.
Twelve photographs including eleven of a Robert Cremean sculpture exhibition at the Esther Robles Gallery in Los Angeles, ca. 1960 (two showing Cremean), and a photograph of the sculpture "Three Figures" by Cremean, ca. 1960, photographer unknown.
Biographical / Historical:
Robert Cremean (1932- ) is a sculptor from Los Angeles, Calif.
Provenance:
Donated 2006 by Robert D. Ehrlich, American art collector.
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 papers of painter, printmaker, and educator Will Barnet date from 1897 and 1929-2016. The collection measures 30.7 linear feet and 7.24 gigabytes. Found within the papers are biographical material, including numerous recorded interviews of Barnet; personal and professional correspondence; writings and lectures; financial records; printed material; artwork; and photographs of Barnet, his family and friends, and his work.
An addition received in 2016 includes biographical material, correspondence, writings, diaries and daybooks, gallery and exhibition files, project and professional files, printed material, and photographic material.
Scope and Contents:
The papers of painter, printmaker, and educator Will Barnet date from 1897 and 1929-2016. The collection measures 30.7 linear feet and 7.24 gigabytes. Found within the papers are biographical material, including numerous recorded interviews of Barnet; personal and professional correspondence; writings and lectures; financial records; printed material; artwork; and photographs of Barnet, his family and friends, and his work.
An addition received in 2016 includes biographical material, correspondence, writings, diaries and daybooks, gallery and exhibition files, project and professional files, printed material, and photographic material.
Biographical materials consist of appointment and address books, curriculum vitae, a fellowship application, awards ceremony documentation, and numerous recorded interviews, including a 9 part interview with Kitty Gellhorn conducted over the course of two years. Only 6 of the 24 interviews have transcripts and most are found only on original audio and video recordings with no duplicate access copies.
Correspondence is primarily with Barnet's family, friends, fellow artists, and business associates discussing personal relationships, teaching and lecturing appointments, gallery sales, and exhibitions. Correspondents of note include Cameron Booth, Henry Pearson, Angelo Savelli, Harry Sternberg, Jon Von Wicht, Esther Robles Gallery, and the Waddell Gallery (formerly Grippi and Waddell).
Writings by Barnet consist of 7 essays, 45 teaching lectures, 3 notebooks, and 4 speeches. Many of the lectures and 3 of the 4 speeches exist only as audio and video recordings for which there are no transcripts or duplicate access copies. The bulk of writings by others are biographical essays and memoirs of Barnet, including a copy of Peter Barnet's dissertation, Will Barnet: Artist and Teacher. The series also includes 4 exhibition guest registers.
Personal business records include sales and teaching contracts, gift acknowledgements, and price lists.
Printed material includes auction catalogs, clippings, audio recordings, video documentaries, exhibition announcements and catalogs, newsletters, press releases, programs, and reproductions of artwork. Video documentaries of note include Artist's Eye and Lasting Impressions, both of which Barnet contributed interviews to.
Photographic materials document people, artwork, exhibition installations, and works of art. There are early photos of Barnet teaching at the Art League, as well as photos of Barnet in his studio and with friends and family. Views of exhibition installations, award ceremonies, and events mainly document solo shows and Barnet's reception after receiving the National Arts Club's Gold Medal Award.
Artwork consists of ink, pencil, and pen sketches by Will Barnet, and a drawing by Bill Smith.
The addition to the Will Barnet papers received in 2016 includes biographical material, correspondence, writings, diaries and daybooks, gallery and exhibition files, project and professional files, printed material, and photographic material. Measuring 19.7 linear feet and 7.24 gigabytes, the addition greatly expands on the original donation, particularly in the diaries and daybooks, which include entries from over five decades. Barnet's long career and professional activities are also well documented in the gallery, exhibition, project, and professional files.
Arrangement:
The collection is arranged as 8 series.
Series 1: Biographical Materials, 1945-1995 (2 linear feet; Boxes 1-2, FC 34)
Series 2: Correspondence, 1940-2001 (3 linear feet; Boxes 3-5, OV 12)
Series 3: Writings, 1940-2000 (3.1 linear feet; Boxes 5-9)
Series 4: Personal Business Records, 1950-1981 (5 folders; Box 9)
Series 5: Printed Material and Publications, 1938-2001 (2.3 linear feet; Boxes 9-11)
Series 6: Photographic Materials, 1939-2001 (0.5 linear feet; Box 11, OV 12)
Series 7: Artwork, 1938-1983 (3 folders; Box 11)
Series 8: Addition to the Will Barnet Papers, 1897, 1929-2016 (19.7 linear feet; Box 13-32, OV 33; 7.24 Gigabytes; ER01-ER06)
Biographical / Historical:
Will Barnet (1911-2012) was a painter, printmaker, and educator who lived and worked in New York City.
Barnet was born in Beverly, Massachusetts to Noah and Sarahdina Barnet. After showing an early interest and affinity for art, he attended the School of the Museum of Fine Arts in Boston. In 1931, he received a scholarship to attend the Art Students League where he studied with Stuart Davis and began building his printmaking techniques. In 1935, he was appointed the League's official printer, and was given his first teaching position there the following year. In 1938, working in the style of social realism, he held his first gallery show at the Hudson Walker Gallery in Manhattan. That same year, Barnet married Mary Sinclair, with whom he had three sons.
In the 1940s and 50s, Barnet began to move away from realism and started painting domestic familial subjects in geometric abstract styles, a move influenced by Native American and modern European art. By 1953, he had divorced and was remarried to Elena Ciurlys, with whom he had a daughter. Elena and his daughter were the subject of many of his representational, dimensionally flat paintings in the 1960s and 70s. During the 60s, Barnet also returned to large scale abstract art, and moved back and forth between styles throughout the rest of his career into the 2000s.
As an educator, Barnet taught graphic arts, printmaking, composition, and painting courses at the League from 1936 to 1980, and also taught courses Cooper Union, Yale, and the Pennsylvania Academy of Fine Arts. He received numerous awards, including the first Artist's Lifetime Achievement Award given on the National Academy of Design's 175th anniversary, the College Art Association's Lifetime Achievement Award, and the 2011 National Medal of Arts.
Will Barnet died in his home in Manhattan, New York on November 13, 2012.
Related Materials:
The Archives of American Art holds three oral history interviews with Will Barnet, one conducted by Richard Baker, January 20, 1964, one by Paul Cummings, January 15, 1968, and another by Stephen Polcari on April 9, 1993. Also found are two additional related collections, a transcript of an interview by Louis Newman with Molly Barnes and Will Barnet, and Peter Barnet's research material on Will Barnet. Syracuse University holds additional papers of Will Barnet.
Separated Materials:
Also found in the Archives are papers that were lent for microfilming (reels N68-22, N69-126, and N70-48.) Most but not all of this material was included in subsequent donations, except for scattered news clippings and exhibition catalogs. The microfilm is not described in the container listing of this finding aid.
Provenance:
Will Barnet loaned his papers to the Archives of American Art for microfilming in 1968. He donated most of this material along with additional papers in several increments between 1968-2001. More papers were donated 2016 by Elena Barnet, Will Barnet's widow.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Painters -- New York (State) -- New York Search this
Artists' studios -- New York (State) -- New York -- Photographs Search this
Printmakers -- New York (State) -- New York Search this
Genre/Form:
Video recordings
Transcripts
Interviews
Visitors' books
Sound recordings
Sketches
Photographs
Citation:
Will Barnet papers, 1897, 1929-2016. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art. Funding for the preservation and transfer of motion picture film was provided by the Smithsonian Women's Committee.
