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3EP Ltd. records

Creator:
3EP Ltd. (Palo Alto, Calif.)  Search this
Names:
Anderson, Mary Margaret  Search this
Arnoldi, Charles, 1946-  Search this
Bengston, Billy Al  Search this
Cook, Gordon  Search this
Falkenstein, Claire, 1908-1997  Search this
Fay, Joe, 1950-  Search this
Francis, Sam, 1923-1994  Search this
Gilhooly, David  Search this
Goldyne, Joseph R.  Search this
Jefferson, Jack, 1921-2000  Search this
Kirkeby, Paula  Search this
Lobdell, Frank, 1921-  Search this
Moses, Ed, 1926-  Search this
Olivera, Nathan  Search this
Phillips, Jay, 1954-1987  Search this
Phillips, Matt  Search this
Sugarman, George, 1912-1999  Search this
Zirker, Joseph  Search this
Extent:
4.3 Linear feet
Type:
Collection descriptions
Archival materials
Prints
Photograph albums
Photographs
Date:
1970-1984
bulk 1979-1984
Summary:
The records of California fine arts print publisher 3EP Ltd. founded by Moo (Mary Margaret) Anderson, Joseph Goldyne, and Paula Kirkeby measure 4.3 linear feet and date from 1970 to 1984. The records include scattered administrative files; artists' files that include correspondence, lists, price lists, and miscellany; printed materials, photographs, including two dismantled photo albums and negatives; and numerous fine arts prints by various contemporary artists, including Gordon Cook, Claire Falkenstein, Joe Fay, Sam Francis, David Gilhooly, Joseph Goldyne, Jack Jefferson, Frank Lobdell, Fred Martin, Ed Moses, Nathan Oliveira, Jay Phillips, Matt Phillips, and Joseph Zirker.
Scope and Contents:
The records of California fine arts print publisher 3EP Ltd. founded by Moo (Mary Margaret) Anderson, Joseph Goldyne, and Paula Kirkeby measure 4.3 linear feet and date from 1970 to 1984. The records include scattered administrative files; artists' files that include correspondence, lists, price lists, and miscellany; printed materials, photographs, including two dismantled photo albums and negatives; and numerous fine arts prints by various contemporary artists, including Gordon Cook, Claire Falkenstein, Joe Fay, Sam Francis, David Gilhooly, Joseph Goldyne, Jack Jefferson, Frank Lobdell, Fred Martin, Ed Moses, Nathan Oliveira, Jay Phillips, Matt Phillips, and Joseph Zirker.

Administrative records consist of chronological correspondence, subscriber lists and forms, price lists, exhibition lists, and other miscellaneous records. Business/administrative correspondence is mostly between the 3EP Ltd. founders and various museums, galleries, and collectors, with a few letters to artists. Artists' files include resumes, correspondence, catalogs, clippings, photographs and slides. Artists include Chuck Arnoldi, Billy Al Bengston, Gordon Cook, Claire Falkenstein, Joe Fay, Sam Francis, Jack Jefferson, Frank Lobdell, Ed Moses, George Sugarman, and Joseph Zirker, among many others.
Arrangement:
This collection is arranged as 5 series.

Series 1: Administrative Records, 1978-1984 (0.2 linear feet; Box 1)

Series 2: Artists Files, 1970-1984 (1.8 linear feet; Box 1-2)

Series 3: Printed Material, 1981-1984 (0.1 linear feet; Box 3)

Series 4: Artwork, 1979-1984 (1.9 linear feet; OV 4-22)

Series 5: Photographic Material, 1981-1983 (0.3 linear feet; Box 3)
Biographical / Historical:
3EP Ltd. was founded by Moo (Mary Margaret) Anderson, Joseph Goldyne, and Paula Kirkeby in 1978 in Palo Alto, California. The print publisher worked with over 20 artists to produce fine art prints and monotypes and operated until 1984.

Harry W. and Mary Margaret Anderson, respectively known as Hunk and Moo, are avid art collectors with one of the largest private art collections of 20th Century American Art. Moo has a special interest in works of art on paper and prints. Moo and Paula Kirkeby, director of Smith Anderson Gallery in Palo Alto, along with San Francisco artist Joseph Goldyne formed 3EP Ltd. In addition to sales, the mission of 3EP Ltd. was to encourage experimentation with the monoprint. Anderson and Kirkeby commissioned a custom-built Takach-Garfield press for their facilities and invited artists to work with the monotype technique and printmaking, techniques that were initially unfamiliar to many of the artists who worked with 3EP Ltd. Artists invited to work at 3EP include Gordon Cook, Claire Falkenstein, Joe Fay, Sam Francis, David Gilhooly, Frank Lobdell, Ed Moses, Nathan Oliviera, Jay and Matt Phillips, and many others. 3EP Ltd. closed in 1984.
Related Materials:
The de Young Museum has a collection of 3EP Ltd. prints which are part of the Anderson Graphic Arts Collection.
Provenance:
The 3EP Ltd. records were donated in 1984 by Moo (Mary Margaret) Anderson and Paula Kirkeby. Plates received with the donation were returned to the donors.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research facility.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art publishing -- California -- Palo Alto  Search this
Intaglio printing  Search this
Graphic arts  Search this
Prints -- 20th century  Search this
Printmakers -- California  Search this
Genre/Form:
Prints
Photograph albums
Photographs
Citation:
3EP Ltd. records, 1970-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.3epltd
See more items in:
3EP Ltd. records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-3epltd

Pierre Matisse Gallery records

Creator:
Pierre Matisse Gallery (New York, N.Y.)  Search this
Names:
Artigas, Francisco, 1916-  Search this
Balthus, 1908-  Search this
Berman, Eugene, 1899-1972  Search this
Biederman, Charles Joseph, 1906-2004  Search this
Blatas, Arbit  Search this
Bonnard, Pierre, 1867-1947  Search this
Borès, Francisco, 1898-1972  Search this
Brancusi, Constantin, 1876-1957  Search this
Braque, Georges, 1882-1963  Search this
Breton, André, 1896-1966  Search this
Butler, Reg, 1913-1981  Search this
Calder, Alexander, 1898-1976  Search this
Calliyannis, Manolis, 1926-  Search this
Canogar, Rafael, 1935-  Search this
Chagall, Marc, 1887-1985  Search this
Cézanne, Paul, 1839-1906  Search this
Dalí, Salvador, 1904-  Search this
De Chirico, Giorgio, 1888-  Search this
Degas, Edgar, 1834-1917  Search this
Derain, André, 1880-1954  Search this
Despiau, Charles, 1874-1946  Search this
Dos Passos, John, 1896-1970  Search this
Dubuffet, Jean, 1901-1985  Search this
Duchamp, Marcel, 1887-1968  Search this
Dufy, Raoul, 1877-1953  Search this
Dunoyer de Segonzac, André, 1884-1974  Search this
Ernst, Max, 1891-1976  Search this
Etrog, Sorel, 1933-  Search this
Faucher, Serge  Search this
Fellini, Federico  Search this
Ferren, John, 1905-1970  Search this
Francis, Sam, 1923-1994  Search this
Giacometti, Alberto, 1901-1966  Search this
Gleizes, Albert, 1881-1953  Search this
Gogh, Vincent van, 1853-1890  Search this
Gris, Juan, 1887-1927  Search this
Gromaire, Marcel, 1892-1971  Search this
Hantaï, Simon  Search this
Hélion, Jean, 1904-1987  Search this
Katz, Mané, 1894-1962  Search this
Kisling, Moïse, 1891-1953  Search this
Knapp, Stefan, 1921-  Search this
La Fresnaye, Roger de, 1885-1925  Search this
Lam, Wifredo  Search this
Laurencin, Marie, 1883-1956  Search this
Lipchitz, Jacques, 1891-1973  Search this
Lurçat, Jean, 1892-1966  Search this
Lynes, George Platt, 1907-1955  Search this
Léger, Fernand, 1881-1955  Search this
MacIver, Loren, 1909-1998  Search this
Maillol, Aristide, 1861-1944  Search this
Mason, Raymond, 1922-  Search this
Masson, André, 1896-1987  Search this
Matisse, Henri, 1869-1954  Search this
Matisse, Pierre, 1900-1989  Search this
Matta, 1912-2002  Search this
Matter, Herbert, 1907-1984  Search this
Menkes, Sigmund, 1896-1986  Search this
Millares, Manolo, 1926-1972  Search this
Miró, Joan, 1893-  Search this
Modigliani, Amedeo, 1884-1920  Search this
Mondrian, Piet, 1872-1944  Search this
Nelson, Paul, 1895-  Search this
Ozenfant, Amédée, 1886-1966  Search this
Pascin, Jules, 1885-1930  Search this
Picasso, Pablo, 1881-1973  Search this
Quintanilla, Luis, 1900-1980  Search this
Rattner, Abraham  Search this
Renoir, Auguste, 1841-1919  Search this
Riopelle, Jean Paul  Search this
Rivera, Manuel, 1927-  Search this
Roszak, Theodore, 1907-1981  Search this
Rouan, François, 1943-  Search this
Ruckstull, F. W. (Fred Wellington), 1853-1942  Search this
Sage, Kay  Search this
Saura, Antonio, 1930-  Search this
Seligmann, Kurt, 1900-1962  Search this
Seurat, Georges, 1859-1891  Search this
Siqueiros, David Alfaro  Search this
Soutine, Chaim, 1893-1943  Search this
Tamayo, Rufino, 1899-  Search this
Tanguy, Yves, 1900-1955  Search this
Tchelitchew, Pavel, 1898-1957  Search this
Utrillo, Maurice, 1883-1955  Search this
Viallat, Claude, 1936-  Search this
Zadkine, Ossip  Search this
Zao, Wou-ki, 1920-2013  Search this
Extent:
300 Items (Reel NPM1: (on partial microfilm reel))
1.25 Linear feet (Unmicrofilmed)
Type:
Collection descriptions
Archival materials
Date:
1925-1989
Scope and Contents:
REEL NPM1: Catalogs of Pierre Matisse Gallery exhibitions, 1931-1945; photographs of exhibitions interspersed among the catalogs; and a scrapbook containing clippings and reviews of shows at the gallery.
Artists represented among the catalogs, photographs, or scrapbook include Balthus, Eugene Berman, Charles Biederman, Arbit Blatas, Pierre Bonnard, Francisco Bores, Constantin Brancusi, Georges Braque, André Breton, Alexander Calder, Paul Cézanne, Marc Chagall, Salvador Dalí, Giorgio De Chirico,Edgar Degas, André Derain, Charles Despiau, John Dos Passos, Marcel Duchamp, Raoul Dufy, André de Segonzac Dunoyer, Max Ernst, John Ferren, Alberto Giacometti, Albert Gleizes, Vincent van Gogh, Juan Gris, Marcel Gromaire, Jean Hélion, Mane Katz, Moise Kisling, Roger de La Fresnaye, Wifredo Lam, Marie Laurencin, Fernand Léger, Jacques Lipchitz, Jean Lurçat, George Platt Lynes, Loren MacIver, Aristide Maillol, André Masson, Henri Matisse, Roberto Sebastián Matta Echaurren, Herbert Matter, Sigmund Menkes, Joan Miró, Amedeo Modigliani, Piet Mondrian, Paul Nelson, Amédée Ozenfant, Jules Pascin, Pablo Picasso, Luis Quintanilla, Abraham Rattner, Auguste Renoir, Georges Rouault, Kay Sage, Kurt Seligmann, Georges Seurat, David Alfaro Siqueiros, Chaim Soutine, Rufino Tamayo, Yves Tanguy, Pavel Tchelitchew, Maurice Utrillo, and Ossip Zadkine.
UNMICROFILMED: Catalogs of Pierre Matisse Gallery exhibitions of the work of: Francisco Artigas, Balthus, Reg Butler, Manolis Calliyannis, Rafael Canogar, Marc Chagall, Jean Dubuffet, Sorel Etrog, Serge Faucher, Federico Fellini, Sam Francis, Alberto Giacometti, Simon Hantaï, Stefan Knapp, Wilfredo Lam, Loren MacIver, Raymond Mason, Manolo Millares, Joan Miró, Jean-Paul Riopelle, Manuel Rivera, François Rouan, Georges Rouault, Theodore Roszak, Antonio Saura, Yves Tanguy, Claude Viallat, Wou-Ki Zao, and the Dogon and Tellem peoples of Africa.
Biographical / Historical:
Art gallery; New York, N.Y. Founded 1931 by Pierre Matisse, son of Henri Matisse; operated until his death in 1989, handling mainly 20th century European art.
Related Materials:
Pierre Matisse Gallery records also located at Pierpont Morgan Library, New York, N.Y.
Provenance:
Records on reel NPM1 were lent for microfilming 1967 by the Pierre Matisse Gallery. The unmicrofilmed catalogs were donated in 1996. The Gallery donated its records to the Pierpont Morgan Library in New York in 1997.
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.
Topic:
Art, Modern -- 20th century -- United States  Search this
Function:
Art galleries, Commercial -- New York (State) -- New York
Identifier:
AAA.piermati
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-piermati

Oral history interview with Peter Howard Selz

Interviewee:
Selz, Peter Howard, 1919-2019  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Names:
Francis, Sam, 1923-1994  Search this
Hartley, Marsden, 1877-1943  Search this
Magritte, René, 1898-1967  Search this
Pascin, Jules, 1885-1930  Search this
Rothko, Mark, 1903-1970  Search this
Stieglitz, Alfred, 1864-1946  Search this
Extent:
80 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1982 July 28-October 12
Scope and Contents:
An interview of Peter Howard Selz conducted 1982 July 28-1982 October 12, by Paul J. Karlstrom, for the Archives of American Art.
Selz speaks of his early interest in art; his immigration to the United States in 1935; meeting Alfred Stieglitz; his career as an art historian and how it developed; exhibitions he organized; art and its relationship to politics; developments in contemporary American art and the study of art history; the Mark Rothko estate trial; and his current work. He recalls Marsden Hartley, Rene Magritte, Sam Francis, and Jules Pascin.
Biographical / Historical:
Peter Howard Selz (1919-2019 ) was a curator and art historian from Berkeley, California.
General:
Originally recorded on 6 sound cassette. Reformatted in 2010 as 9 digital wav files. Duration is 4 hr., 31 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript: Use requires an appointment.
Occupation:
Art historians -- California -- Berkeley -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.selz82
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-selz82

Martha Jackson Gallery records

Creator:
Martha Jackson Gallery  Search this
Names:
Anderson, David K., 1935-  Search this
Appel, Karel, 1921-  Search this
Bacon, Francis, 1909-1992  Search this
Benrimo, Tom, 1887-1958  Search this
Boynton, Jack, 1928-2010  Search this
Bultman, Fritz, 1919-1985  Search this
Burri, Alberto, 1915-  Search this
Calcagno, Lawrence, 1913-  Search this
Francis, Sam, 1923-1994  Search this
Honegger, Gottfried, 1917-  Search this
Hultberg, John, 1922-  Search this
Jackson, Martha Kellogg  Search this
Jenkins, Paul, 1923-2012  Search this
Jones, Paul Haller, 1917-  Search this
Kruger, Louise, 1924-  Search this
Leslie, Alfred, 1927-  Search this
Lobdell, Frank, 1921-  Search this
Marini, Marino, 1901-1980  Search this
Nicholson, Ben, 1894-  Search this
Otero Rodríguez, Alejandro  Search this
Pozzatti, Rudy, 1925-  Search this
Richier, Germaine, 1904-1959  Search this
Scott, William, 1913-  Search this
Teshigawara, Sofu, 1900-  Search this
Ting, Walasse  Search this
Extent:
200 Items (ca. 200 items (on 2 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1954-1964
Scope and Contents:
Artists' files, containing mainly correspondence with Jackson and her son David Anderson concerning exhibitions. Some files also contain resumes, price lists, exhibition catalogs, checklists, and receipts. Also included is a letter from John Hultberg, 1963.
Reel D246: Files on: Karel Appel, Francis Bacon, Tom Benrimo, James W. Boynton, Fritz Bultman, Alberto Burri, Lawrence Calcagno, Sam Francis, Gottfried Honegger, John Hultberg, Paul Jenkins, Paul Haller Jones, Louise Kruger, Alfred Leslie, Frank Lobdell, Marino Marini, Ben Nicholson, Alejandro Otero, Rudy Pozzatti, Germaine Richier, William Scott, Sofu Teshigahara, Walasse Ting and others. Included is a file on the Gutai avant-garde artists group of Japan.
Reel 2814: a letter, March 29, 1963, from John Hultberg in San Miguel de Allende, Mexico. Hultberg writes of the artist colony there, the difficulty of acquiring artist supplies in Mexico, studio arrangements, his sense "of serenity," his plans, and arrangements for an upcoming exhibition at the Martha Jackson Gallery.
Biographical / Historical:
Martha Jackson opened her Gallery in New York City at 22 E. 66th St., moving three years later to 32 E. 69th St. The gallery specialized in modern American and European painting and sculpture, particularly Abstract Expressionists. Her son, David Anderson, worked with Jackson and took over the gallery after her death in 1969.
Related Materials:
Additional Martha Jackson Gallery records are available at the University of Buffalo Art Galleries.
Provenance:
Material on reel D246 was lent for microfilming by the Martha Jackson Gallery, September 1965. One letter from John Hultberg (reel 2814) was donated.
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  Search this
Painters  Search this
Function:
Art galleries, Commercial -- New York (State) -- New York
Identifier:
AAA.martjack
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-martjack

Fred Martin papers

Creator:
Martin, Fred, 1927-  Search this
Names:
Anderson, Jeremy, 1921-1982  Search this
DeFeo, Jay, 1929-1989  Search this
Diebenkorn, Richard, 1922-1993  Search this
Francis, Sam, 1923-1994  Search this
Gechtoff, Sonia, 1926-2018  Search this
Haddad, Samuel, 1937-  Search this
Hedrick, Wally, 1928-2003  Search this
Majdrakoff, Ivan, 1927-  Search this
Marks, Royal S., 1929-  Search this
Park, David, 1911-1960  Search this
Richardson, Sam, 1934-  Search this
White, Joseph, 1938-  Search this
Extent:
0.4 Linear feet ((on 2 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1949-1975
Scope and Contents:
Correspondence between Martin and Sam Haddad and Royal Marks of the Royal Marks Gallery, 1964-1972, and with many artists and people involved with the arts; manuscript, business and printed materials; catalogs and announcements; clippings; miscellany; two small works; 20 photographs, 1957-1966, of works by Martin, Jeremy Anderson, Jay Defeo, Richard Diebenkorn, Sam Francis, Sonia Gechtoff, Wally Hedrick, Ivan Majdrakoff, David Park, Sam Richardson, and Joseph White; and one photograph of Wally Hedrick with a painting.
Biographical / Historical:
Painter, illustrator, collagist and art educator, San Francisco, Cal. Director of the College of the San Francisco Art Institute. Worked in oil, watercolor, Gouache and pencil.
Provenance:
Donated 1975 by Fred Martin.
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 teachers -- California -- San Francisco  Search this
Collagists -- California -- San Francisco  Search this
Painters -- California -- San Francisco  Search this
Identifier:
AAA.martfred
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-martfred

Oral history interview with Frank Lobdell

Interviewee:
Lobdell, Frank, 1921-  Search this
Interviewer:
St. John, Terry  Search this
Names:
Bischoff, Elmer, 1916-1991  Search this
Booth, Cameron, 1892-1980  Search this
Diebenkorn, Richard, 1922-1993  Search this
Falkenstein, Claire, 1908-1997  Search this
Francis, Sam, 1923-1994  Search this
Hatofsky, Jerry, 1922-  Search this
Hultberg, John, 1922-  Search this
MacAgy, Douglas, 1913-  Search this
Smith, Hassel, 1915-2007  Search this
Spohn, Clay Edgar, 1898-1977  Search this
Still, Clyfford, 1904-1980  Search this
Valvo, Ninfa, 1900-1993  Search this
Zogbaum, Wilfrid, 1915-1965  Search this
Extent:
7 Sound cassettes (Sound recording)
77 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound cassettes
Pages
Sound recordings
Interviews
Date:
1980 Apr. 9-May 7
Scope and Contents:
An interview of Frank Lobdell conducted 1980 Apr. 9-1980 May 7, by Terry St. John, for the Archives of American Art.
Lobdell speaks of his youth and family background; his early interest in art; his education; studying with Cameron Booth; his service in the U.S. Army; artist friends and influences; political influences on his work; the community of artists in San Francisco in the 1950s, including Elmer Bischoff and Clyfford Still; his "dark years"; teaching at Stanford; reviews by critics; and the avant-garde art of the 1960s. He recalls Ninfa Valvo, Douglas MacAgy, Hassel Smith, Richard Diebenkorn, Wilfred Zogbaum, Sam Francis, Jerry (Julian) Hatofsky, Claire Falkenstein, Clay Spohn, and John Hultberg.
Biographical / Historical:
Frank Lobdell (1921- ) is a painter, printmaker, and teacher of Stanford, Calif.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Topic:
Painters -- California -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.lobdel80
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lobdel80

Alfred Leslie papers

Topic:
Hasty papers
Creator:
Leslie, Alfred, 1927-  Search this
Names:
Corso, Gregory  Search this
Francis, Sam, 1923-1994  Search this
Ginsberg, Allen, 1926-1997  Search this
Hunter, Sam, 1923-  Search this
Mailer, Norman  Search this
Moore, Marianne, 1887-1972  Search this
Pasternak, Boris Leonidovich, 1890-1960  Search this
Extent:
2 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1959-1962
Scope and Contents:
Mostly correspondence from friends and associates concerning Leslie's painting and his editorship of The Hasty Papers, 1960, including letters from Gregory Corso, Sam Francis, Allen Ginsberg, Sam Hunter, Norman Mailer, Marianne Moore, and Boris Pasternak. Also included are manuscript articles and galley sheets.
Biographical / Historical:
Alfred Leslie (b. 1927) is a painter, editor; New York, N.Y. Leslie painted in a style he called "confrontational art" which involves a direct realism intended to grab the viewer's attention and deliver a message almost didactic and persuasive in its tone. He was the editor of the avant-garde literary review The Hasty Papers.
Provenance:
Lent for microfilming 1966 by Alfred Leslie. Later that year, a fire destroyed Leslie's studio, including his art works as well as much of the papers he lent for microfilming.
Restrictions:
ACCESS RESTRICTED: written permission required.
Occupation:
Painters  Search this
Topic:
Painting, Modern -- 20th century -- History  Search this
Identifier:
AAA.leslalfr
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-leslalfr

Oral history interview with Shirley Jaffe

Interviewee:
Jaffe, Shirley, 1923-2016  Search this
Interviewer:
Berman, Avis  Search this
Creator:
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Names:
Brooklyn Museum  Search this
Cooper Union for the Advancement of Science and Art -- Students  Search this
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Phillips Collection  Search this
Solomon R. Guggenheim Museum  Search this
Biala, Janice, 1904-2000  Search this
Delaney, Beauford, 1901-  Search this
Dickinson, Edwin Walter, 1891-1978  Search this
Ford, Hermine  Search this
Francis, Sam, 1923-1994  Search this
Goldberg, Michael, 1924-2007  Search this
Mitchell, Joan, 1926-1992  Search this
Riopelle, Jean Paul  Search this
Extent:
1 Item (Sound recording, master: 1 compact disc, 3 WMA files (4 hr., 28 min.), digital, 2 5/8 in.)
94 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2010 Sept. 27-28
Scope and Contents:
An interview of Shirley Jaffe conducted 2010 Sept. 27 and 28, by Avis Berman, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Jaffe's studio, in Paris, France.
Jaffe speaks of living with her family in Elizabeth, NJ and Brooklyn, NY; attending Abraham Lincoln High School, Parsons School of Design, Brooklyn College, and The Cooper Union for the Advancement of Science and Art; visiting the Brooklyn Museum, the Museum of Non-Objective Art (now the Solomon R. Guggenheim Museum), and The Museum of Modern Art; living on St. Mark's Place and in Brooklyn, NY ; her marriage in 1949 to Irving Jaffe; moving to Washington, DC and visiting The Philips Collection; moving to and adjusting to life in France; socializing with American artists in Paris, France; moving between New York and France; working and living in Berlin, Germany with a grant from the Ford Foundation; living independently in France; visiting the cathedrals and galleries in Italy; teaching undergraduate students; the evolution of her paintings and technique; her painting process and use of cellophane; painting on glass; murals; and her exhibitions and commissions. Jaffe also recalls Leon Friend, Morris Kantor, Pierre Bonnard, Karl Knaths, Max and Esther Gould, Jules Olitski, Michael Goldberg, Joan Mitchell, Beauford Delaney, Sam Francis, Janice Biala, Hermine Tworkov Ford, Edwin Dickinson, Jean-Paul Riopelle, Kimber Smith, Jean Fournier, Al Held, Haywood Bill Rivers, Milton Glaser, and others.
Biographical / Historical:
Shirley Jaffe (1923-2016) was an abstract painter and sculptor in Paris, France. Avis Berman (1949- ) is a scholar in New York, N.Y.
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.
Rights:
Transcript: Authorization to quote or reproduce for the purposes of publication requires written permission from Jerome Sternstein. Contact Reference Services for more information.
Occupation:
Painters -- France -- Paris -- Interviews  Search this
Art dealers -- France -- Paris  Search this
Topic:
Painting -- Equipment and supplies  Search this
Painting -- Technique  Search this
Sculptors -- France -- Paris -- Interviews  Search this
Women artists -- France -- Paris -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.jaffe10
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-jaffe10

Shirley Jaffe papers

Creator:
Jaffe, Shirley, 1923-  Search this
Names:
Ford, Hermine  Search this
Francis, Sam, 1923-1994  Search this
Held, Al, 1928-  Search this
Jenkins, Paul, 1923-2012  Search this
Kushner, Robert, 1949-  Search this
Mitchell, Joan, 1926-1992  Search this
Nochlin, Linda  Search this
Rivers, Larry, 1925-2002  Search this
Smith, Kimber, 1922-1981  Search this
Stone, Sylvia, 1928-  Search this
Sugarman, George, 1912-1999  Search this
Extent:
7.1 Linear feet
0.26 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sketches
Video recordings
Sketchbooks
Diaries
Photographs
Interviews
Date:
circa 1950-2011
Summary:
The papers of artist Shirley Jaffe measure 7.1 linear feet and 0.260 GB and date from circa 1950-2011. The collection documents her life and career as an American painter living in Paris through biographical material, letters, notebooks, writings, project files, printed and digital material, photographic material, and sketchbooks.
Scope and Contents:
The papers of artist Shirley Jaffe measure 7.1 linear feet and 0.260 GB and date from circa 1950-2011. The collection documents her life and career as an American painter living in Paris through biographical material, letters, notebooks, writings, project files, printed and digital material, photographic material, and sketchbooks.

Scattered biographical materials include address and appointment books, an interview with Jaffe by Jeff Perkins recorded on one videocassette, and other documents.

Letters make up a significant portion of the collection and are primarily written to Shirley from friends and family. In addition to frequent letters received from her siblings and mother, Jaffe also received letters from artists Joan Mitchell, Sam Francis, Kimber Smith, Sylvia Stone and Al Held, Hermine Ford, Robert Kushner, and George Sugarman.

The papers include eighty-four notebooks kept by Jaffe containing lists, addresses, notes, sketches and the occasional diary entry. Project files contain correspondence, gouache studies, sketches, and printed material related to commissions and collaborations, including illustrations, murals, and the design of stained glass windows in the Chapelle Saint-Jean-l'Evangéliste in Perpignan, titled Funéraria.

Printed materials include articles, published books about Jaffe, clippings, exhibition catalogs, a recorded radio broadcast, and reviews.

There are photographs, slides, transparencies, and digital photographs depicting Jaffe's paintings, exhibitions, and artists and art world figures including Larry Rivers, Kimber Smith, Linda Nochlin, Sam Francis, Paul Jenkins, and Joan Mitchell at exhibition openings in the 1960s-1970s. Eight sketchbooks contain drawings by Jaffe in ink, marker, and pen.
Arrangement:
The collection is arranged as 7 series

Series 1: Biographical Material, 1950s-2000s (0.3 linear feet; Box 1)

Series 2: Letters, 1950s-2000s (3 linear feet; Box 1-4)

Series 3: Notebooks and Writings, 1950s-2000s (0.9 linear feet; Box 4-5)

Series 4: Project Files, 1970s-2003 (0.6 linear feet; Box 5, 9)

Series 5: Printed Material, 1952-2011 (0.7 linear feet; Box 5-6, 9)

Series 6: Photographic Material, 1950s-circa 2010 (1.3 linear feet; Box 6-8, 0.260 GB; ER01)

Series 7: Sketchbooks, 1960s-2000s (0.3 linear feet; Box 8)
Biographical / Historical:
Shirley Jaffe (1923-2016), née Sternstein, was an American painter living and working in Paris.

Born in New Jersey and raised in Brooklyn, Shirley Jaffe completed her studies at the Cooper Union in 1945. In 1949 she and husband Irving Jaffe moved to Washington, D.C. where she attended the Phillips Art School. Later that same year, they moved to Paris. The Jaffes returned to New York briefly in the early 1950s, but moved back to Paris in 1953, where Shirley Jaffe has been living and working ever since. She was married to Irving Jaffe until 1962.

Jaffe started her career as an abstract expressionist but began to work in a flat and geometric style in the late 1960s. She was part of the American expatriate art scene in Paris and associated with Joan Mitchell, Jean-Paul Riopelle, Sam Francis, Kimber Smith, and others. In 1963, Jaffe received a grant from the Ford Foundation to spend a year working in Berlin.

Jaffe took on several commissions in France including illustrations, murals, and notably, the design of stained glass windows in the Chapelle Saint-Jean-l'Evangéliste in Perpignan, titled Funéraria. Her paintings have been exhibited in New York at the Holly Solomon Gallery and the Tibor de Nagy Gallery, and at galleries and museums throughout France.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Shirley Jaffe conducted by Avis Berman, September 27-28, 2010.
Provenance:
The Shirley Jaffe papers were donated to the Archives of American Art by Shirley Jaffe in 2014.
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.

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.
Topic:
Painters -- France -- Paris  Search this
Women artists -- France -- Paris  Search this
Expatriate artists -- France  Search this
Genre/Form:
Sketches
Video recordings
Sketchbooks
Diaries
Photographs
Interviews
Citation:
Shirley Jaffe papers, 1950s-2011. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.jaffshir
See more items in:
Shirley Jaffe papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-jaffshir
Online Media:

Oral history interview with Jean Milant

Interviewee:
Milant, Jean, 1943-  Search this
Interviewer:
Drohojowska-Philp, Hunter  Search this
Names:
Cirrus Editions  Search this
Cirrus Gallery  Search this
Los Angeles Institute of Contemporary Art  Search this
Los Angeles Visual Arts (Organization)  Search this
Museum of Contemporary Art (Los Angeles, Calif.)  Search this
Tamarind Institute  Search this
University of New Mexico -- Student  Search this
University of Wisconsin  Search this
Antreasian, Garo Z., 1922-2018  Search this
Auder, Michel  Search this
Baldessari, John, 1931-  Search this
Blum, Irving, 1930-  Search this
Burden, Chris, 1946-  Search this
Card, Greg S., 1945-  Search this
Carson, Karen, 1943-  Search this
Cointet, Guy de, 1934-1983  Search this
Egelston, Robert  Search this
Francis, Sam, 1923-1994  Search this
Gehry, Frank O., 1929-  Search this
Goodman, Marian  Search this
Harrison, Newton, 1932-  Search this
Hill, Charles Christopher  Search this
Inch, Terry  Search this
Irwin, Robert, 1928-  Search this
Kanemitsu, Matsumi  Search this
Kauffman, Craig, 1932-2010  Search this
Leiber, Steven  Search this
Marron, Donald B.  Search this
Mizuno, Riko  Search this
Moses, Ed, 1926-  Search this
Nauman, Bruce, 1941-  Search this
Overby, Robert, 1935-1993  Search this
Price, Kenneth, 1935-2012  Search this
Rivière, Alain, 1958-  Search this
Rosen, Gerry  Search this
Ruscha, Edward  Search this
Sturman, Eugene  Search this
Trowbridge, David, 1945-  Search this
Tyler, Kenneth E.  Search this
Viva, 1938-  Search this
Wayne, June, 1918-2011  Search this
Wood, Jonas, 1977-  Search this
de Beauvau-Craon, Minnie  Search this
Extent:
4 Items (Sound recording: 4 sound files (3 hr., 7 min.), digital, wav)
102 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Place:
Europe -- description and travel
France -- description and travel
New York (N.Y.) -- Description and Travel
Date:
2015 July 20
Scope and Contents:
An interview of Jean Milant, conducted 2015 July 20, by Hunter Drohojowska-Philp, for the Archives of American Art at Milant's home in Los Angeles, California.
Jean Milant discusses growing up in Milwaukee, Wisconsin and his French and German heritage; his introduction to art instruction in high school and further studies at the University of Wisconsin; his trips to Europe and New York City as an undergraduate art student; his time as a graduate student at the University of New Mexico, and his work at the Tamarind Institute printmaking program and his introduction to Los Angeles; his work at Tamarind with Ed Ruscha, Sam Francis, Ed Moses, and Ken Price, among others; the beginnings of Cirrus Gallery and Cirrus Editions and his search for backers for the two endeavors; his partnership with Terry Inch as a backer for Cirrus. Mr. Milant also describes the decision to move his gallery and printmaking shop to downtown Los Angeles in 1979; the support of Robert Egelston and the collector Donald Marron and other collectors who first subscribed to his print editions; his experiences in France with Minnie de Beauvau-Craon; the gallery and museum scene in Los Angeles in the early '70s and '80s; his efforts to promote Los Angeles as a vibrant center of art, including trips to Europe in the early '70s to show his artists; the creation of Ed Ruscha's prints using food; working with Bruce Nauman and John Baldessari to create prints; the creation of the Los Angeles Visual Arts group of L.A. art dealers; his involvement with the creation of the Los Angeles Institute of Contemporary Art in 1974; his work with the artist Guy de Cointet and Mr. Cointet's early performances at Cirrus Gallery; the opening of MOCA in 1984; his desire to create a think-tank institute to help create a viable future for art. Mr. Milant also recalls Garo Antreasian, Newton Harrison, June Wayne, Frank Gehry, Robert Irwin, Eugene Sturman, Matsumi Kanemitsu, Ken Tyler, Riko Mizuno, Irving Blum, Gerry Rosen, Robert Overby, David Trowbridge as well as Chris Burden, Greg Card, Karen Carson, Craig Kauffman, Marian Goodman, Alain Rivière, Charles Christopher Hill, Steven Leiber, Viva, Michel Auder, and Jonas Wood, among others.
Biographical / Historical:
Jean Robert Milant (1943- ) is an art dealer and publisher in Los Angeles, California. Hunter Drohojowska-Philp is an art critic and writer from Beverly Hills, California.
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:
Art -- Study and teaching  Search this
Art dealers -- California -- Los Angeles -- Interviews  Search this
Prints -- Technique  Search this
Publishers -- California -- Los Angeles -- Interviews  Search this
Function:
Art galleries, Commercial -- California -- Los Angeles
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.milant15
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-milant15

Connie Lembark papers

Creator:
Lembark, Connie W., 1934-  Search this
Names:
Antonakos, Stephen, 1926-2013  Search this
Bertoia, Harry  Search this
Francis, Sam, 1923-1994  Search this
Hanson, Duane  Search this
Mitchell, Joan, 1926-1992  Search this
Rickey, George  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1967-1999
Scope and Contents:
Letters to Lembark, a receipt, photographs and slides, printed material, and a video.
Letters are to Lembark from sculptors George Rickey (1 letter and 4 cards, 1972-1997), and Duane Hanson (7 letters and 3 postcards, 1988-1997); and a receipt for the purchase of a work by Harry Bertoia. The correspondence relates to work in progress and invitations to exhibitions. Also found are 6 folders about Sam Francis which include his obituaries, printed material (articles and exhibition announcements), reviews and articles of Lembark's book "The Prints of Sam Francis: a Catalogue Raisonne, 1960-1990," book catalogues for the book, price list of Francis' prints, and press releases about the book; 3 rolls of negatives with contact sheets taken in the studios of Francis and Joan Mitchell; printed material and slides on Rickey, Arthur Gibson, and Stephen Antonakos; and a video tape "Eric Orr: Prime Matter."
Biographical / Historical:
Art consultant, author; Nashville, Tenn.
Provenance:
Donated 1998 and 2000 by Connie Lembark.
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:
Sculptors -- United States  Search this
Identifier:
AAA.lembconn
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lembconn

Jan Butterfield papers

Creator:
Butterfield, Jan  Search this
Names:
Lapis Press  Search this
Pacific Enterprises  Search this
Bell, Larry, 1939-  Search this
Bischoff, Elmer, 1916-1991  Search this
Dugmore, Edward, 1915-  Search this
Francis, Sam, 1923-1994  Search this
Gehry, Frank O., 1929-  Search this
Goode, Joe, 1937-  Search this
Greene, George  Search this
Guston, Philip, 1913-1980  Search this
Harrison, Helen Mayer, 1929-  Search this
Harrison, Newton, 1932-  Search this
Hopkins, Henry, 1928-2009  Search this
Hudson, Robert, 1938-  Search this
Irwin, Robert, 1928-  Search this
Karp, Michael  Search this
Kienholz, Edward, 1927-  Search this
Nauman, Bruce, 1941-  Search this
Nordman, Maria  Search this
Orr, Eric, 1939-1998  Search this
Rauschenberg, Robert, 1925-2008  Search this
Reinhardt, Ad, 1913-1967  Search this
Resnick, Milton, 1917-2004  Search this
Roche, Jim  Search this
Ruscha, Edward  Search this
Shaw, Richard, 1941 Sept. 12-  Search this
Still, Clyfford, 1904-1980  Search this
Turrell, James  Search this
Wheeler, Douglas  Search this
Wortz, E.  Search this
Wortz, Melinda  Search this
Young, R. Joshua  Search this
Interviewee:
Cage, John, 1912-1992  Search this
Extent:
15 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sound recordings
Video recordings
Transcripts
Interviews
Scrapbooks
Date:
1950-1997
Summary:
The papers of Jan Butterfield measure 15 linear feet and date from circa 1950 to 1997. Papers contain hundreds of recorded interviews with and lectures by artists, panel discussions of artists and art historians, as well as extensive writings by Butterfield. Also found are project files, personal business records, printed materials, photographs, and additional sound and video recordings related to art subjects.
Scope and Contents:
The papers of Jan Butterfield measure 15 linear feet and date from circa 1950 to 1997. Papers contain hundreds of recorded interviews with and lectures by artists, panel discussions of artists and art historians, as well as extensive writings by Butterfield. Also found are project files, personal business records, printed materials, photographs, and additional sound and video recordings related to art subjects.

Interviews and Lectures include hundreds of interviews conducted by Butterfield between 1971 and 1987 with contemporary artists about whom she was writing at the time. The artists Robert Irwin and Sam Francis are represented particularly well. Also found are slide talks, class discussions, and lectures given by artists, which are assumed to have been recorded by Butterfield in most cases. Also among the recordings are recorded performances by John Cage, Joe Goode, Newton and Helen Harrison, Jim Roche, and George Greene. Panel discussions include two notable recordings involving Milton Resnick, one with the painter Edward Dugmore in 1959, and the other with the painter Ad Reinhardt at The Club in 1961, which was later dubbed "The Attack."

The bulk of the writings relate to Butterfield's published work The Art of Light and Space, represented here in multiple drafts, research, and photographs of works of art by the artists discussed in the work including Robert Irwin, James Turrell, Maria Nordman, Douglas Wheeler, Bruce Nauman, Eric Orr, Larry Bell, DeWain Valentine, Susan Kaiser Vogel, and Hap Tivey. Also found are extensive drafts and research for catalog essays for exhibitions of Larry Bell, Richard Shaw, Robert Hudson, and Elmer Bischoff. Drafts of articles and publicity writing are mainly about artists but also some galleries and other art events. There are a few transcripts of recorded interviews, and it appears that many of the writings are based on Butterfield's interviews.

Project files include records relating to Butterfield's involvement with the production of a catalog for the corporate art collection of Pacific Enterprises. These also include additional artist interviews and artist files containing research and writing, mainly by her associate Michael Karp. Also found are photographs and sound recordings for the Waterfront Project at the San Francisco Art Institute, an interdisciplinary community-centered development project that involved Larry Bell, Robert Irwin, Melinda Wortz, Eric Orr, Dr. E. Wortz, Frank Gehry, Newton and Helen Harrison, Josh Young, and students at the Art Institute. And finally, project files include photographs, interviews, and printed material related to publications of Lapis Press, where Butterfield was Executive Director.

Personal business records include correspondence, price lists, financial records, notes, press releases, and career documentation of Butterfield. Printed materials include articles by Butterfield, articles about Butterfield, and articles by Henry Hopkins, most of which are photocopies. There are also clippings, exhibition catalogs, exhibition posters, and publicity. Of note is a disassembled scrapbook pertaining to the controversial Ed Kienholz exhibition at the Los Angeles County Museum of Art in 1966, and a directory of art spaces in Los Angeles from 1978.

Most of the photographs are of works of art by artists about whom Butterfield wrote. Also found are a few files of photographs of artists, some taken by Butterfield, including Philip Guston, Ed Kienholz, Henry Hopkins with Clyfford Still, Robert Irwin, Robert Rauschenberg, and James Turrell. Additional video and sound recordings include artist installations, a documentary on Sam Francis, and an acoustiguide for an Ed Ruscha exhibition.
Arrangement:
This collection is arranged as 7 series.

Series 1: Interviews and Lectures (Boxes 1-5; 4.2 linear feet)

Series 2: Writings (Boxes 5-7, 16, OV 17; 3.7 linear feet)

Series 3: Project Files (Boxes 8-10, 16; 1.6 linear feet)

Series 4: Personal Business Records (Boxes 10-11, OV 17-19; 1.1 linear feet)

Series 5: Printed Materials (Boxes 11-12, 16, OV 17-19; 1.8 linear feet)

Series 6: Photographs (Boxes 12-14, 16; 2.2 linear feet)

Series 7: Sound and Video Recordings (Box 15; 0.4 linear feet)
Biographical / Historical:
Jan Butterfield (1937-2000) was an art writer and critic of contemporary art who spent most of her career in California. She is best known for her writings on late twentieth century installation and craft artists, particularly those who worked in California and the American West.

Butterfield was born Jan Van Alstine in Los Angeles, California in 1937 and attended the Univeristy of California, Los Angeles. She received numerous fellowships and grants from the National Endowment for the Arts as an art critic, and contributed art writing to dozens of exhibition catalogs and art publications including Art International, Images and Issues, Art News, Art in America, and Flash Art. Her most ambitious work of writing was The Art of Light and Space (Abbeville Press: 1993), which profiles the work of contemporary artists Robert Irwin, James Turrell, Maria Nordman, Douglas Wheeler, Bruce Nauman, Eric Orr, Larry Bell, DeWain Valentine, Susan Kaiser Vogel, and Hap Tivey. She was also the author of a 1972 monograph of the Abstract Expressionist painter Sam Francis.

Butterfield held positions in public relations at the Los Angeles County Museum of Art from its opening until 1970, and at the Fort Worth Art Museum from 1970 to 1974. She taught at Northwood Experimental Art Institute in Dallas, Texas, the San Francisco Art Institute, San Jose State University, and Mills College in Oakland, California between 1973 and 1983. At the San Francisco Art Institute, she was Director of the extension program and Coordinator of the visiting artist program and the Waterfront Project between 1976 and 1978. In 1984, Butterfield and the artist Sam Francis co-founded the Lapis Press, where she served as Executive Director from its founding until 1988.

Butterfield was married twice, the second time to Henry Hopkins, Museum Director at LACMA, the Museum of Fine Art of Houston, and the San Francisco Museum of Modern Art. She died in 2000 after an extended illness.
Related Materials:
Also found among the collections of the Archives of American Art is a 1981 panel discussion on Bay area art criticism sponsored by the National Women's Caucus for Art, in which Butterfield participated, as well as an oral history interview Butterfield conducted with Helen Lundeberg for the Archives' Oral History Program in 1980.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reel 1042 including two volumes of scrapbooks. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Jan Butterfield lent material in 1975 for microfilming. She donated the Robert Irwin material in 1980 of and most of the interviews and audio tapes in 1989. An additional 12 feet of papers, including some material previously loaned and microfilmed, along with two additional audio tapes, were donated by Butterfield's brother, and Trustee of the Jan Butterfield Trust, Derek Van Alstine in 2002.
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.
Occupation:
Art historians -- California  Search this
Art critics -- California -- San Francisco  Search this
Topic:
Authors -- California -- San Francisco  Search this
Genre/Form:
Photographs
Sound recordings
Video recordings
Transcripts
Interviews
Scrapbooks
Citation:
Jan Butterfield papers, 1959-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.buttjan
See more items in:
Jan Butterfield papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-buttjan

Oral history interview with Irwin Hollander

Interviewee:
Hollander, Irwin  Search this
Interviewer:
Cummings, Paul  Search this
Names:
Tamarind Lithography Workshop  Search this
Callahan, Harry M.  Search this
Francis, Sam, 1923-1994  Search this
Genis, Fred, 1934-  Search this
Wayne, June, 1918-2011  Search this
Extent:
1 Sound tape reel (Sound recording (1 hour), 7 in.)
32 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1970 June 19
Scope and Contents:
An interview of Irwin Hollander conducted 1970 June 19, by Paul Cummings, for the Archives of American Art.
Hollander speaks of his family background and education; attending the Brooklyn Museum School of Art; travels in Mexico; the Arts Students League; his woodcuts and book illustrations; joining the Tamarind Lithography Workshop staff as a printer and technical director; starting his own workshop and lithography studio; artists using his presses; his partnership with Fred Genis; new techniques in printmaking; the advantages of the hand press. He recalls June Wayne, Sam Francis and John Cage.
Biographical / Historical:
Irwin Hollander (1927-) was a printmaker from New York, N.Y.
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:
Prints -- Technique  Search this
Printmakers -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.hollan70
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hollan70

Oral history interview with Robert Blackburn

Interviewee:
Blackburn, Robert Hamilton, 1920-  Search this
Interviewer:
Cummings, Paul  Search this
Names:
Barnet, Will, 1911-2012  Search this
Francis, Sam, 1923-1994  Search this
Grosman, Tatyana, 1904-1982  Search this
Harrison, Wallace, 1900-  Search this
Hartigan, Grace  Search this
Lawrence, Jacob, 1917-2000  Search this
Rauschenberg, Robert, 1925-2008  Search this
Vytlacil, Vaclav, 1892-1984  Search this
Extent:
52 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1970 December 4
Scope and Contents:
An interview of Robert Blackburn conducted 1970 December 4, by Paul Cummings, for the Archives of American Art. Blackburn speaks of his early life in Jamaica and New York; the influences of his youth including school, gangs, religion, art, music, and culture; the Harlem Community Art Center; studying with Charles Alston; the difficulties suffered by Black artists trying to gain recognition in a white-dominated art world; attending the Art Students League and studying under Vaclav Vytlacil and Will Barnet; his work with children; his film work at the Harmon Foundation; financial problems; the Printmaking Workshop; attending New York University's School of Visual Arts and the Cooper Union School; blacks in the arts; and the influence of music on his paintings. He recalls Jacob Lawrence, Will Barnet, Vaclav Vytlacil, Wallace Harrison, Tatyana Grosman, Grace Hartigan, Sam Francis, and Robert Rauschenberg.
Biographical / Historical:
Robert Blackburn (1920-) was a printmaker from New York, New York.
General:
Originally recorded 2 sound tape reels. Reformatted in 2010 as 6 digital wav files. Duration is 3 hr., 28 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.
Occupation:
Printmakers -- New York (State) -- New York  Search this
Topic:
Prints -- Technique  Search this
Art and race  Search this
African American artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.blackb70
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-blackb70

André Emmerich Gallery records

Creator:
André Emmerich Gallery  Search this
Names:
Galerie André Emmerich  Search this
Sotheby Parke Bernet & Co.  Search this
Sotheby's (Firm)  Search this
Caro, Anthony, 1924-  Search this
Emmerich, André  Search this
Francis, Sam, 1923-1994  Search this
Frankenthaler, Helen, 1928-2011  Search this
Greenberg, Clement, 1909-1994  Search this
Hockney, David  Search this
Hofmann, Hans, 1880-1966  Search this
Louis, Morris, 1912-1962  Search this
Noland, Kenneth, 1924-2010  Search this
Olitski, Jules, 1922-2007  Search this
Pepper, Beverly  Search this
Extent:
311.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Visitors' books
Sound recordings
Video recordings
Scrapbooks
Etchings
Date:
circa 1929-2009
Summary:
The André Emmerich Gallery records and André Emmerich papers measure 311.4 linear feet and date from 1929 to 2009. The collection documents the business of the André Emmerich Gallery as well as André Emmerich's life and activities related to the business of selling art. Gallery records include correspondence; appointment books; administrative and subject files; exhibition files; artist files and accounts; inventory, sales, purchase, and consignment records; chronological files; financial and legal records; printed materials; original artwork; photographic and audiovisual materials. Also found are personal papers and records relating to André Emmerich. TheA small addition received in 2014 includes general correspondence, administrative files, exhibition files, artists' files, inventory records, consignment records, printed material, photographic materials, and André Emmerich personal papers and records.
Scope and Content Note:
The André Emmerich Gallery records and André Emmerich papers measure 311.4 linear feet and date from 1929 to 2009. The collection documents the business of the André Emmerich Gallery as well as André Emmerich's life and activities related to the business of selling art. Gallery records include correspondence; appointment books; administrative and subject files; exhibition files; artist files and accounts; inventory, sales, purchase, and consignment records; chronological files; financial and legal records; printed materials; original artwork; photographic and audiovisual materials. Also found are personal papers and records relating to André Emmerich.

The records document the gallery's daily business operations, exhibitions, and relationships with artists, dealers, clients, galleries, and museums. Artists particularly well-represented throughout the collection include Anthony Caro, Sam Francis, Helen Frankenthaler, David Hockney, Hans Hofmann, Morris Louis, Kenneth Noland, Jules Olitski, and Beverly Pepper.

Records pre-dating the gallery's establishment in 1954 are primarily newspaper and magazine clippings related to artists, personal photographs and photographs of artists, an original etching, and some of André Emmerich's personal records including biographical materials, correspondence, writings, and legal and financial records. Records post-dating the gallery's closure in 1998 are primarily residual business records related to the final disposition of artwork, clippings, photographs of André Emmerich and gallery staff, biographical materials, personal correspondence, writings, legal and financial records, and condolences received by Emmerich's wife upon his death in 2007.

Correspondence is primarily with galleries, museums and clients about business matters. Correspondence files also cover topics such as appraisals, authentications, offers of sale, artists seeking representation, image requests, job applications and recommendations. Also included are the New York gallery's copies of correspondence between the New York staff and the Zurich staff.

André Emmerich's appointment books document appointments, notes, and reminders about Emmerich's business and personal activities. Four appointment books relating to the birth of Emmerich's three sons and second marriage were kept by the family. The appointment books are access restricted and require written permission to use.

Administrative files include corporate records establishing the Andre Emmerich gallery's structure, records documenting the gallery's daily operations, advertising and publicity material, and records about the Sotheby's acquisition. There are also materials related to Top Gallant Farm, from its establishment to its closure. Travel records relate to André Emmerich's business trips and vacations along with some files on the travels of a several staff members at the gallery. Files about the operations of the Galerie André Emmerich in Zurich, Switzerland are included in the series as well.

Subject files relate to Emmerich's gallery business as well as personal and political interests, such as antiquities, art fairs and exhibitions, lecture research, art associations, and sculpture parks. There are several files on the art critic Clement Greenberg and former president of Gay Men's Health Crisis, Nathan Kolodner, who was also an art dealer and director of the Andre Emmerich Gallery.

Exhibition files contain numerous exhibition catalogs and printed materials related to exhibitions held or organized by the André Emmerich Gallery in Manhattan and Galerie André Emmerich in Zurich. The files contain materials ranging such as exhibition invitations, posters, printed materials, press releases, and guest books. Photographs of exhibitions can be found in the Photographic Materials series.

Artist files include biographical materials, clippings, correspondence, mailing lists, price lists, printed materials, and occasionally lectures, writings, and audiovisual materials for many of the artists represented or shown by André Emmerich Gallery. The General Correspondence files might contain duplicates or expanded versions of some of the correspondence. Photographs of artists can be found in the Photographic Materials series.

Artist accounts comprise account statements prepared periodically by the gallery documenting each artist's expenses and sales. Ledgers and general accounting files can be found in the Other Financial and Legal Records series.

Inventory records include inventory cards describing artwork entering and leaving the gallery and files containing various gallery inventories. Artist inventory cards, representing artists from both the New York and Zurich galleries, list the artist, title, date, media and measurements of an artwork. The cards also indicate whether the work was ultimately sold, returned to the artist, consigned, etc., and divided into categories accordingly. Inventory files show various gallery inventories.

Sales records document gallery sales and include paid invoices, records relating to Zurich sales, general sales records such as price lists and canceled sales, and Sotheby's Parke-Bernet auction reports. There are gaps in sales invoices in 1961-1964 and 1969-1971.

Purchase records include correspondence and invoices related to purchases and offers; annotated invoices for works of art bought by the gallery; André Emmerich, Inc. related purchase records; "Non-Modern" art related purchase records.

Consignment records include correspondence and consignment agreements documenting consignments to and from the André Emmerich Gallery; consignments from other galleries to André Emmerich, Inc.; and general consignment records.

Chronological files include copies of invoices or cover letters documenting the movement of artwork into and out of the gallery through sales, consignments, loans, and approvals. Records dating January through August 1968, January through March 1969, and September 1969 through July 1971 are missing.

Financial and legal records include client and partner account statements, resale and exempt organization certificates, accounting ledgers, and legal files related to disputes involving or of interest to the gallery.

Printed materials include auction catalogs and reports, books, and clippings describing André Emmerich, the galleries in New York and Zurich, Top Gallant Farm, and the art world. Also included is a large scrapbook created by the gallery containing clippings and gallery announcements dated 1955-1958. Clippings relating to particular artists can be found in the Artists Files series.

There are two pieces of original artwork in the collection. One is a 1974 print of a 1933 composite etching by Esther Dick Gottlieb, Adolphe Gottlieb, Edgar Levy, Lucille Corcos Levy, David Smith, and Dorothy Dehner Smith. The second is a 1998 lithograph by Louise Bourgeoise, called The Face of the Critic. The artist gave the lithograph as a gift in honor of Robert Hughes and the Archives of American Art and is numbered 61 out of a series of 300.

Photographic materials include prints, slides, negatives, and transparencies. Subjects include artists, André Emmerich, gallery installations, Top Gallant Farm, events, artists' studios, gallery staff, gallery space, and artwork. Photographs which show André Emmerich are indicated as such in the finding aid.

Audiovisual materials includes videocassettes and one audiocassette related to the art world. Videocassettes related to specific artists can be found in the Artists Files series. Videocassettes related to André Emmerich can be found in the André Emmerich Personal Papers and Records series. Videocassettes related to Top Gallant Farm and Sotheby's can be found in the Administrative Files series.

Personal papers and records relating to André Emmerich include biographical materials, personal correspondence, writings and lectures, and legal and financial records. The biographical materials include an address book, interviews and identifying documents. Writings include articles, edits, dissertations, lectures, etc. There are also some miscellaneous correspondence which is organized chronologically.

The small addition received in 2014 includes general correspondence, administrative files, exhibition files, artists' files, inventory records, consignment records, printed material, photographic materials, and André Emmerich personal papers and records.
Arrangement:
The collection is arranged as 19 series:

Series 1: General Correspondence Files, 1958-2006 (boxes 1-18, OV 314-315; 18.2 linear feet)

Series 2: André Emmerich Appointment Books, 1954-2007 (boxes 19, 325, 326; 1.7 linear feet)

Series 3: Administrative Files, 1954-2003 (boxes 20-31, 306, OV 314, OV 316-319; 11 linear feet)

Series 4: Subject Files, 1958-1967, 1971-2000 (boxes 31-32, 306, OV 318, OV 320; 2 linear feet)

Series 5: Exhibition Files, circa 1954-1998 (boxes 32-40, 306, 307, OV 318-322; 8.5 linear feet)

Series 6: Artists Files, 1929-1932, 1938-2007 (boxes 40-68, 307, 308, OV 320-323; 28 linear feet)

Series 7: Artist Accounts, 1958-1998 (boxes 68-81; 13.5 linear feet)

Series 8: Inventory Records, circa 1954-2000(boxes 82-128; 46.5 linear feet)

Series 9: Sales Records, 1959-1998 (boxes 128-168; 40 linear feet)

Series 10: Purchase Records, 1961-1966, 1972-1994 (boxes 168-170; 2 linear feet)

Series 11: Consignment Records, 1961-2002 (boxes 170-177; 7.7 linear feet)

Series 12: Chronological File of Incoming and Outgoing Artwork, 1968-1998 (boxes 178-185; 8 linear feet)

Series 13: Other Financial and Legal Records, 1956-1999 (boxes 186-202; 16.5 linear feet)

Series 14: Printed Materials, 1955-1960, 1965-2008 (boxes 202-204, 308, 309; 3 linear feet)

Series 15: Original Artwork, 1933, 1974, 1998 (box 205, 310; 0.7 linear feet (2 folders))

Series 16: Photographic Materials, circa 1930-1935, 1941-1998, circa 2005 (Boxes 205-296, 311-313, OV 324; 92.8 linear feet)

Series 17: General Audio and Video Recordings, 1985, 1990-1995 (Boxes 297-298; 1.3 linear feet)

Series 18: André Emmerich Personal Papers and Records, 1937-1940, 1946-2008 (Boxes 298-305, OV 321, OV 323; 7.7 linear feet)

Series 19: Addition to the The André Emmerich Gallery records and André Emmerich papers, 1956-2009 (Boxes 328-329, OV 330; 2.1 linear feet)
Historical Note:
André Emmerich (1924-2007) was one of America's most noted contemporary art dealers and opened the André Emmerich Gallery in New York in 1954. The gallery showcased contemporary art, particularly Color Field painting and monumental sculpture.

André Emmerich was born on October 11, 1924 in Frankfurt, Germany. From age 7 he was raised in Amsterdam before emigrating with his family to New York City in 1940. He studied at Oberlin College and developed an interest in pre-Columbian art and antiquities. After graduation, he spent ten years in Paris working as a writer and editor before returning to New York. He married Constance Emmerich and the couple had three sons, Adam, Noah, and Toby.

In 1954 Emmerich opened the André Emmerich Gallery at 18 East 77th Street and initially specialized in contemporary American and European art and pre-Columbian antiquities. In 1956, the gallery moved to 17 East 64th Street, and in 1959 to the Fuller Building at 41 East 57th Street. Emmerich wrote two books about pre-Columbian art, Art Before Columbus in 1963 and Sweat of the Sun, Tears of the Moon: Gold and Silver in Pre-Columbian Art in 1965.

In 1961, Emmerich learned that French and Company, a gallery advised by art critic Clement Greenberg, was closing its department of contemporary art. French and Company had represented Color Field painters Morris Louis, Kenneth Noland, and Jules Olitski. Emmerich immediately invited Louis and Noland to be represented by his gallery. In 1966 he extended the invitation to Olitski as well, and Helen Frankenthaler joined soon after. The gallery's reputation as one of the earliest and most important promoters of Color Field painters was launched.

In addition to Color Field painters, the gallery represented, among others, Pierre Alechinsky, Karel Appel, Milton Avery, Herbert Ferber, Sam Francis, John Graham, Al Held, David Hockney, Hans Hofmann, John Hoyland, Judy Pfaff, Miriam Schapiro, and Anne Truitt.

Until January 1983, sales of pre-Columbian art primarily went through an entity called André Emmerich Inc. (AE Inc.), while sales of contemporary went through the André Emmerich Gallery Inc. (AEG). In 1983, the two entities were merged and operated under the name André Emmerich Gallery Inc.

In 1971, Emmerich began operating a downtown gallery at 420 West Broadway, in SoHo, in space shared with Leo Castelli, Virginia Dwan, and Ileana Sonnabend. In 1972, Emmerich opened a branch of his gallery in Zurich. He incorporated the Galerie André Emmerich Gmbh primarily for the purpose of leasing gallery space in Zurich. Until February 1974, sales of Pre-Columbian art in Zurich were made by an entity called André Emmerich Gallery Inc., New York Filiale Zurich. The Galerie André Emmerich Gmbh was officially liquidated in May 1982. The Filiale was formally closed in October 1996. Galerie André Emmerich also enjoyed a short-lived joint venture with Gimpel & Hanover.

André Emmerich served as president of the Art Dealers Association of America from 1972-1974 and again from 1991-1994.

Emmerich opened a private 150 acre sculpture park, Top Gallant Farm, on his estate in Pawling, New York, in 1982, where he stored and exhibited monumental sculptures by artists his gallery represented including Anthony Caro, Beverly Pepper, Alexander Liberman, Alexander Calder, Mark di Suvero, George Rickey, and Keith Haring. David Hockney painted waves onto floor of the property's swimming pool in 1986. Emmerich operated the sculpture park until 1996.

Emmerich sold his gallery to Sotheby's in 1996. He continued to be affiliated with the gallery until Sotheby's closed the gallery in 1998. Emmerich then began work on his memoir, My Life With Art, excerpts of which have been published in Art News, the Wall Street Journal, and The New Criterion.

Andre Emmerich died in New York 2007 and is survived by his second wife, Susanne Emmerich.
Related Material:
Among the holdings of the Archives of American Art is an oral history interview with André Emmerich conducted by Mona Hadler on January 18, 1993.
Provenance:
The André Emmerich Gallery records and André Emmerich papers were donated to the Archives of American Art by André Emmerich in eight accretions between 1999 and 2002. Two additional accretions were donated by Emmerich's wife Susanne in 2008 and 2009; and by James Yohe, Emmerich's former business partner, in 2009 and 2014.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Sculpture, Abstract  Search this
Color-field painting  Search this
Art -- Economic aspects  Search this
Artists' studios -- Photographs  Search this
Art galleries, Commercial -- Switzerland -- Zurich  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Visitors' books
Sound recordings
Video recordings
Scrapbooks
Etchings
Citation:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.andremmg
See more items in:
André Emmerich Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-andremmg
Online Media:

Artists and printmaking : the making of a print : lecture, by Edmund Brooke Alexander

Creator:
Alexander, Brooke  Search this
Names:
Fogg Art Museum  Search this
Francis, Sam, 1923-1994  Search this
Katz, Alex, 1927-  Search this
LeWitt, Sol, 1928-2007  Search this
Motherwell, Robert  Search this
Extent:
1 Item (sound cassette + 8 slides)
Type:
Collection descriptions
Archival materials
Sound recordings
Date:
1984 February 29 /
Scope and Contents:
A tape recording of a lecture and eight accompanying color slides delivered by Edmund Brooke Alexander at the Fogg Art Museum. Alexander speaks of prints he has published and distributed since 1968 by artists Alex Katz, Sam Francis, Sol Lewitt, Robert Motherwell and others; factors in judging prints, painters and sculptors working in printmaking; and his involvement with young painters, studying to become printmakers.
Biographical / Historical:
Art dealer, publisher; Cambridge, Mass. Born 1937.
General:
This lecture is also recorded on 1 5" sound tape reel along with another lecture "The Dealer's Eye".
Provenance:
Donated 1988 by E. Brooke Alexander. Harvard University granted the Archives of American Art permission to record the lecture.
Restrictions:
Use requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Occupation:
Art dealers -- Massachusetts -- Cambridge  Search this
Topic:
Prints -- 20th century -- United States  Search this
Prints -- Technique  Search this
Genre/Form:
Sound recordings
Identifier:
AAA.alexbroo
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-alexbroo

Tamarind Lithography Workshop records

Creator:
Tamarind Lithography Workshop  Search this
Names:
Tamarind Institute  Search this
Adams, Clinton, 1918-2002  Search this
Antreasian, Garo Z., 1922-2018  Search this
Brice, William, 1921-2008  Search this
Francis, Sam, 1923-1994  Search this
Hultberg, John, 1922-  Search this
McLaughlin, John, 1898-1976  Search this
Schwartz, Aubrey, 1928-  Search this
Wayne, June, 1918-2011  Search this
Woelffer, Emerson, 1914-2003  Search this
Extent:
1 Linear foot (Gift: (partially microfilmed on 2 reels))
37 Reels (Loan)
Type:
Collection descriptions
Archival materials
Reels
Date:
1954-1984
Scope and Contents:
Artists' files; institutional files; printed material and photographs.
REELS 2866-2878: Artists' files, 1960-1981, containing biographical data, correspondence, project proposals, contract agreements, invoices, receipts, newspaper and magazine clippings, exhibition catalogs and announcements, and press releases.
REELS 2952-2975: Organizational files, 1958-1972, containing Board member's and Board of Directors correspondence, 1958-1972, Executive Committee minutes and panel of selection correspondence and recommendations; correspondence of Garo Antreasian, Clinton Adams, John Sommers and June Wayne, 1954-1973; grant applications from Manolis Piladakis, Noemi Smilansky and other artists; data on staff, including biographical data, employment contracts and printed material; and material on printer training programs, artists, writers, printers and curators.
REEL 3051: Files, 1960-1978, containing correspondence with artists, Board of Directors, Panel of Selections, Clinton Adams, Garo Antreasian, June Wayne and others; and printer evaluation reports and general correspondence.
REELS 3052-3055: Organizational files, 1959-1981, containing correspondence, information on fellowships and printer and curatorial training, biographical data, printed material, photographs of artists and printers, progress reports and proposals, financial material and printed material; 4 scrapbooks of printed material, 1960-1972; and photographs of artists, printers, the studio, staff parties, workshops, special projects and lithographs. [261 duplicate prints of some of the above photos were given to the Archives April 2, 1984 for study purposes only].
UNMICROFILMED: Printed material, 1958-1984, including catalogs, brochures, exhibition catalogs and publications by the workshop and institute; price lists of Tamarind lithography editions, 1983-1984; publications concerning the art and technique of lithography and the marketing of prints; and photographs of William Brice, Sam Francis, John Hultberg, John D. McLaughlin, Aubrey E. Schwartz and Emerson Woelffer with June Wayne working in the studio.
REEL 439-440 AND SCANNED Seventeen photos of artists, previously microfilmed under Photos of Artists I, and subsequently scanned and returned to the Tamarind records. Artists include: Annie Albers, Josef Albers, William Brice, Richard Diebendorn, Sam Francis, John Hultberg, John McLaughlin, Nathan Loiveria, Henry C. Pearson, Miriam Schapiro, Aubrey Schwartz, Esteban Vicente, Romas Viesulas, Emerson Woelffer, and Adja Yunkers.
Biographical / Historical:
Lithography workshop; Los Angeles, Calif. Founded in 1960 by Garo Antreasian, Clinton Adams and June Wayne. Relocated to Albuquerque, N.M., 1970, by Adams and Antreasian and re-established as the Tamarind Institute.
Provenance:
Microfilmed as part of the Archives of American Art's Texas project, 1983-1984. Unmicrofilmed material and 261 duplicate prints of some photos on reels 3052-3055 donated 1984 by the Tamarind Institute via Clinton Adams, director.
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.
Reel 3051 is ACCESS RESTRICTED written permission is required.
Occupation:
Lithographers -- California -- Los Angeles  Search this
Printmakers -- California -- Los Angeles  Search this
Topic:
Artists' studios -- California -- Los Angeles -- Photographs  Search this
Lithography -- 20th century -- California -- Los Angeles -- Study and teaching  Search this
Identifier:
AAA.tamalitw
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-tamalitw

Betty Freeman papers

Creator:
Freeman, Betty  Search this
Names:
Francis, Sam, 1923-1994  Search this
Still, Clyfford, 1904-1980  Search this
Extent:
1.2 Linear feet ((on 2 microfilm reels))
32 Items (Addition)
Type:
Collection descriptions
Archival materials
Interviews
Date:
1951-1969
Scope and Contents:
Research material on painters Clyfford Still (1904-1980) and Sam Francis (1923-1994), including correspondence, photographs, notes, and unpublished drafts of manuscripts.
The Still material includes detailed notes from various interviews with Still (none of which were tape recorded); correspondence between Freeman and Still; and photocopies of letters from Still to Alfonso Ossorio, Mark Tobey and others, which Freeman obtained from Still; copies of letters from Still to Betty Parsons; an interview with Claire Falkenstein on the subject of Still's paintings; texts by other authors, some annotated by Still; and photographs of Still and his paintings .
Sam Francis material includes several files of research notes and approximately 375 photographs of Francis and his paintings.
Draft manuscripts include Clyfford Still: A Critical Study (1963, 200 pages), Clyfford Still: A Study (1968, 212 pages), and Sam Francis: Ideas and Paintings (1969, 212 pages). Freeman did not have any of these writings published. The manuscript on Sam Francis coincided with the publication of another book on Francis by Peter Selz, and the manuscript on Still was blocked when Still rescinded his permission to quote and to use illustrations of material which he controlled.
ADDITION: Biographical information on Sam Francis and postscript.
Biographical / Historical:
Writer, art historian; Beverly Hills, Calif.
Related Materials:
Papers of Betty Freeman, 1965-2008, are also located at the Mandeville Special Collections Library.
Provenance:
Donated 1986, 2001 and 2002 by Betty Freeman.
Restrictions:
Patrons must use microfilm copy.
Occupation:
Painters  Search this
Art historians -- California -- Beverly Hills  Search this
Genre/Form:
Interviews
Identifier:
AAA.freebett
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-freebett

Clement Greenberg papers

Creator:
Greenberg, Clement, 1909-1994  Search this
Names:
American Committee for Cultural Freedom  Search this
Avedisian, Edward, 1936-2007  Search this
Bannard, Walter Darby, 1934-  Search this
Baziotes, Ethel  Search this
Bush, Jack, 1909-  Search this
Caro, Anthony, 1924-  Search this
Connolly, Cyril, 1903-1974  Search this
Davis, Gene, 1920-1985  Search this
Diebenkorn, Richard, 1922-1993  Search this
Dorazio, Piero, 1927-  Search this
Dzubas, Friedel, 1915-  Search this
Emmerich, André  Search this
Feeley, Paul, 1910-1966  Search this
Francis, Sam, 1923-1994  Search this
Frankenthaler, Helen, 1928-2011  Search this
Fuller, Peter, 1947-1990  Search this
Goodnough, Robert, 1917-  Search this
Gottlieb, Adolph, 1903-1974  Search this
Hofmann, Hans, 1880-1966  Search this
Hosaisson, Philippe  Search this
Kainen, Jacob  Search this
Krauss, Rosalind E.  Search this
Moffett, Kenworth  Search this
Motherwell, Robert  Search this
Newman, Barnett, 1905-1970  Search this
Noland, Kenneth, 1924-  Search this
O'Faolin, Nuala  Search this
Olitski, Jules, 1922-2007  Search this
Pepper, Beverly  Search this
Rothko, Mark, 1903-1970  Search this
Sander, Ludwig, 1906-  Search this
Smith, David, 1906-1965  Search this
Smith, Kimber, 1922-1981  Search this
Solomon, Deborah  Search this
Still, Clyfford, 1904-  Search this
Truitt, Anne, 1921-2004  Search this
Waddington, Leslie  Search this
Wisenski, Kurt  Search this
Extent:
8.6 Linear feet
Type:
Collection descriptions
Archival materials
Transcripts
Interviews
Etchings
Photographs
Reports
Date:
1937-1983
Summary:
The papers of art critic, author, and lecturer Clement Greenberg measure 8.6 linear feet and date from 1937 to 1983. The bulk of the collection consists of letters from art critics, artists, family, friends, galleries, and museums. Notable correspondents include Jack Bush, Anthony Caro, Richard Diebenkorn, Friedel Dzubas, Helen Frankenthaler, Adolph Gottlieb, Hans Hofmann, Morris Louis, Robert Motherwell, Charles Pollock, Jules Olitski, David Smith, and Anne Truitt among others. Also found are biograpical materials, personal business and financial records, an etching by Kurt Wisneski, printed materials, and two reports by Greenberg concerning his travels.
Scope and Content Note:
The papers of influential New York art critic Clement Greenberg measure 8.6 linear feet and date from 1937 to 1983. The bulk of the papers (7 feet) consists of letters from art critics, artists, family, friends, galleries, and museums, with some letters from Greenberg. Correspondents include Edward Avedisian, Darby Bannard, Ethel Baziotes, Jack Bush, Anthony Caro, Gene Davis, Richard Diebenkorn, Piero Dorazio, Friedel Dzubas, Andre Emmerich, Paul Feeley, Sam Francis, Helen Frankenthaler, Robert Goodnough, Adolf Gottleib, Hans Hofmann, Philippe Hosiasson, Jacob Kainen, Rosalind Krauss, Robert Motherwell, Ken Moffett, Barnett Newman, Kenneth Noland, Jules Olitski, Beverly Pepper, Ludwig Sander, David Smith, Kimber Smith, Clyfford Still, Anne Truitt, and Leslie Waddington.

Biographical materials include a transcript of an interview with Greenberg conducted by Deborah Solomon in 1983. Greenberg's personal business and financial records include correspondence regarding his lectures and seminars, requests for his writings, student queries, documents regarding his television and radio appearances, royalty statements, and receipts for gifts of works of art. Also found within business records are documents relating to Greenberg's testimony at the Mark Rothko Trial in 1974.

Artwork consists of one etching by Kurt Wisenski entitled "Spring." The papers contain very few of Greenberg's writings about art. Found are lists of artists, and reports written by Greenberg on the state of art in Japan and India in 1967, likely related to his membership in the American Committee for Cultural Freedom. Printed material includes scattered clippings concerning art and exhibition announcements.

One series of ACCESS RESTRICTED papers contains documents relating to Greenberg's role as a trustee in the David Smith estate; correspondence between Greenberg with Andre Emmerich and Peter Fuller, Nuala O'Faolain, and the Greenberg family; and some financial materials regarding the sale and loan of Greenberg's art collection.
Arrangement:
The collection is arranged as 7 series:

Series 1: Biographical Information, circa 1950s-1983 (Box 1; 2 folders)

Series 2: Business and Financial Records, 1940-1983 (Box 1; 12 folders)

Series 3: Correspondence, 1937-1983 (Boxes 1-8; 7 linear feet)

Series 4: Artwork, 1973 (Box 8; 1 folder)

Series 5: Writings and Notes, 1967-1983 (Box 8; 3 folders)

Series 6: Printed Material, 1950-1982 (Box 8; 2 folders)

Series 7: Restricted Material, 1963-1983 (Boxes 9-11; 1.2 linear feet)
Biographical Note:
Clement Greenberg was a highly influential art critic working in New York City from the 1940s through the 1960s. He was an advocate of modern art, particulary the abstract expressionist movement, and one of the first critics to recognize the significance of Jackson Pollock's work.

Greenberg was born in 1909 to Russian immigrants in Bronx, New York. After graduating from Syracuse University in 1930, he married and had a child, David. He settled in New York City while working at the United States Customs Department as an appraiser.

In the late 1930s, Clement Greenberg attended a meeting of the U.S. Works Progress Administration and heard Hans Hofmann speak of avant-garde art. In 1939, he wrote one of his first important critical pieces "Avant-Garde and Kitsch" for the Partisan Review. Greenberg argued that the avant-garde art movement rose out of the need to defend and maintain high art standards against the decline in taste brought about by America's consumerism and capitalist culture.

In 1940, Greenberg joined Partisan Review as an editor. He became art critic for the Nation in 1942, and was associate editor of Commentary from 1945 until 1957. In December 1950, he joined the CIA-fronted American Committee for Cultural Freedom.

Throughout the 1940s through the 1960s Greenberg continued to write and, in his essays and articles, he promoted the work of Abstract Expressionists, among them Jackson Pollock, Willem de Kooning, Hans Hofmann, Barnett Newman, and Clyfford Still. He particularly championed Jackson Pollock. Greenberg wrote several seminal essays that defined his views on art history in the 20th century. "Greenberg on Collage" was one one of his most important.

Greenberg's views on pop art were mixed. He also became less enamored with Abstract Impressionism, particularly the second generation. However, he became very interested in the Color-Field and Hard-Edge painters.

Through the 1960s Greenberg's views informed a younger generation of art critics including Michael Fried and Rosalind E. Krauss. Some writers maintain that Greenberg's views were so well-respected that he had too much of an influence on the world of art. In time, Greenberg's antagonism to Postmodernist theories and other modern art movements caused him to lose much of his credibility among both artists and art critics.

Greenberg died at the age of eighty-five in 1994.

Since his death, letters edited by his widow, Janice Van Horne and a re-evaluation of his writings have helped to restore his reputation within the art world.
Related Material:
The Portland Art Museum holds Clement Greenberg's private art collection as well as a library of exhibition catalogs.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reels N69-91, N70-7, and N737). Most, but not all, of these papers were later donated by Greenberg. Loaned materials not donated at a later date remain with the lender and are not described in the container listing of this finding aid.
Provenance:
Clement Greenberg initally lent material for microfilming in 1968-1969. He donated most of this material with additional papers in several accretions between 1984 to 1991.
Restrictions:
Use of original papers requires an appointment. Some of the collection is ACCESS RESTRICTED: documents relating to the estate of David Smith; some correspondence with Peter Fuller, Nuala O'Faolain, and the Greenberg family; and sale and loan agreements. Contact the reference staff for more information about permission to use this portion of the 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.
Occupation:
Art critics -- New York (State) -- New York  Search this
Topic:
Art criticism -- New York (State) -- New York  Search this
Art -- Japan  Search this
Art -- India  Search this
Modernism (Art)  Search this
Art -- Economic aspects  Search this
Genre/Form:
Transcripts
Interviews
Etchings
Photographs
Reports
Citation:
The Clement Greenberg papers, 1937-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.greeclep
See more items in:
Clement Greenberg papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-greeclep
Online Media:

Oral history interview with Claire Falkenstein

Interviewee:
Falkenstein, Claire, 1908-1997  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Creator:
Women in the Arts in Southern California Oral History Project  Search this
Names:
Stadler Gallery  Search this
University of California, San Francisco. School of Fine Arts  Search this
Women in the Arts in Southern California Oral History Project  Search this
Appel, Karel, 1921-  Search this
Francis, Sam, 1923-1994  Search this
Jackson, Martha Kellogg  Search this
Lusk, George, 1902-  Search this
Still, Clyfford, 1904-1980  Search this
Tapie, Michel  Search this
Extent:
3 Sound cassettes (Sound recording (60 min. each), analog)
51 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound cassettes
Pages
Sound recordings
Interviews
Date:
1995 Mar. 2-21
Scope and Contents:
An interview of Claire Falkenstein conducted 1995 Mar.2-21, by Paul Karlstrom, for the Archives of American Art, Women in the Arts in Southern California Oral History Project, in Falkenstein's studio, Venice, Calif.
Falkenstein discusses the evolution of her work; the benefit of being alone to her personal and artistic growth; her "vocabulary of art" which she created while at the University of California at Berkeley; her largest commission at St. Basil's Cathedral in Los Angeles and her views on religion and art; the influence on her of George Lusk, a visiting artist and philosopher from Paris; studying the nude figure and how it taught her personal expression; her family background and introduction to art; teaching in the Bay Area at the California School of Fine Arts; her friendships with other artists there such as Clyfford Still; her reasons for leaving the Bay Area to go to Paris; and meeting Michel Tapie and the Stadler Gallery group. She recalls Karl Appel, Martha Jackson, Clyfford Still, Sam Francis, and others.
Biographical / Historical:
Claire Falkenstein (1908-1997) was a sculptor of Venice, 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 this interview was provided by the Margery and Harry Kahn Philanthropic Fund of the Jewish Communal Fund of New York.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Women artists -- California -- Interviews  Search this
Sculptors -- California -- Interviews  Search this
Women artists -- France -- Paris -- Interviews  Search this
Artists -- France -- Paris -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.falken95
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-falken95

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